Interior Design March 2020

MARCH 2020

taking shape

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CONTENTS MARCH 2020

VOLUME 91 NUMBER 2

ON THE COVER At Cafe Polet, a Moscow restaurant by Asthetíque, custom steel-and-velvet chairs stand near a bas-relief panel, its abstracted aircraft design and plaster-coated plywood com­position re­flecting the project’s aeronautical and con­struc­tivist themes. Photography: Mikhail Loskutov.

03.20

features 100 THE LATEST CHAPTER

by Edie Cohen

KoningEizenberg turns a derelict landmark library into MuseumLab, part of the Children’s Museum of Pittsburgh.

108 TAKING FLIGHT

by Elissaveta M. Brandon

Russian aeronautics and space travel set the theme at Moscow’s Cafe Polet

by Asthetíque.

116 CREATURE COMFORTS

by Jen Renzi

X+Living’s Parkzoo Xiangyuan Hangzhou, a Chinese hotel, is wild at heart—but cosseting, too.

SHAO FENG

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124 READING CALIFORNIA

by Jeff Book

Historic West Coast architectural styles are reinterpreted at the Costa Mesa Donald Dungan Library by Johnson Favaro, Rodrigo Vargas, and Diane Lam. 132 INTERNATIONAL STYLE

by Rebecca Dalzell

Le Square Épicier Fin in Ho Chi Minh City is a Vietnamese-French mash-up of a marketplace by Locatelli Partners.

140 E YE ON THE FUTURE

by Winifred Bird

A trio of international hotels breathes new life into historic cities.

116

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ox chair designed in 1960 by hans wegner - corona chair designed in 1964 by poul volther - made in denmark by erik jorgensen

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CONTENTS MARCH 2020

VOLUME 91 NUMBER 2

walk-through 37

37 BY THE BOOK

by Mairi Beautyman

departments 21 HEADLINERS 27 DESIGNWIRE

by Annie Block 44 PINUPS/MATERIAL BANK

by Wilson Barlow 48 BLIPS

by Annie Block 51 CROSSLINES

by Alex Bozikovic Leading Man

Craig Stanghetta’s theatrical past has helped him design dramatic projects in and around Vancouver, Canada.

59 MARKET

by Rebecca Thienes,

Mark McMenamin, Georgina

McWhirter, and Colleen Curry 95 CENTERFOLD

by Colleen Curry Sweet Sensation

Japanese ceremonial teahouses inspired Ryusuke Nanki’s culinary exhibition in Tokyo.

154 BOOKS

by Stanley Abercrombie

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159 INTERVENTION

by Wilson Barlow

SEBASTIAN DÖRKEN

03.20

156 CONTACTS

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NEW YORK CITY

AUSTIN

SYDNEY

SAN FRANCISCO

SEATTLE

MEXICO CITY

LOS ANGELES

PORTLAND

MONTERREY

CHICAGO

MINNEAPOLIS

BLUDOT.COM

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Material Bank.

editor in chief chief content officer

Cindy Allen, hon. IIDA

MANAGING DIRECTOR

ART DIRECTOR

Helene E. Oberman

Karla Lima

EXECUTIVE EDITOR

SENIOR DESIGNER

Annie Block

Stephanie Denig

DEPUTY EDITOR

DESIGNER

Edie Cohen

Hanna Day-Tenerowicz

FEATURES DIRECTOR

CREATIVE SERVICES

Peter Webster

Marino Zullich

SENIOR EDITORS

PRODUCTION DIRECTOR

Georgina McWhirter Nicholas Tamarin MARKET DIRECTOR

Rebecca Thienes ASSISTANT TO THE EDITOR IN CHIEF

Amy Torres ASSISTANT EDITORS

Wilson Barlow Colleen Curry BOOKS EDITOR

Stanley Abercrombie EDITOR AT LARGE

Kevin Fagan 917-934-2825 SENIOR PREPRESS AND IMAGING SPECIALIST

Igor Tsiperson

interiordesign.net ASSOCIATE EDITOR

Kristie Garrell VIDEO PRODUCER

James Eades MULTIMEDIA PRODUCER

Steven Wilsey

Elena Kornbluth

JUNIOR PREDITOR

CONTRIBUTING EDITORS

Stephanie Couture

Raul Barreneche Mairi Beautyman Aric Chen Laura Fisher Kaiser Craig Kellogg Jane Margolies Mark McMenamin Murray Moss Jen Renzi Larry Weinberg CONTRIBUTING PHOTOGRAPHERS

Benny Chan/Fotoworks Jimmy Cohrssen Art Gray Eric Laignel Michelle Litvin Garrett Rowland

SITE CONTRIBUTOR

Jesse Dorris

PRESIDENT

Amanda Schneider DIRECTOR, BUSINESS DEVELOPMENT

Olga Odeide

CHAIRMAN AND CEO OF SANDOW

Adam I. Sandow PRESIDENT

Erica Holborn CHIEF DESIGN OFFICER

Cindy Allen INFORMATION TECHNOLOGY DIRECTOR

Edward Sanborn VICE PRESIDENT, CREATIVE OPERATIONS

Michael Shavalier

Thermostatic Shower Valve samuel-heath.com/us (212) 696 0050 Made in England

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

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

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vice president publisher Carol Cisco business development VICE PRESIDENT

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integrated marketing

advertising

VICE PRESIDENT

NORTHEAST SALES DIRECTOR

Kelly Thomas

Greg Kammerer 646-824-4609

MANAGER

Brittany Lloyd

SALES DIRECTORS, NY

DESIGNERS

Julie Arkin 917-934-2987

Lauren Chepiga David Timoteo

events EVENTS DIRECTOR

Samantha Sager 917-934-2869 EVENTS MANAGER

Caroline Toutoungi 917-934-2872

Stacey Piano 917-934-2885 Gina SanGiovanni-Ristic 917-934-2871 ATLANTA

Craig Malcolm 770-712-9245 CHICAGO

VICE PRESIDENT

Bobby Bonett

Julie McCarthy 847-567-7545

AD OPERATIONS DIRECTOR

LOS ANGELES

Caroline Davis AD OPERATIONS ASSOCIATE MANAGER

Claire Fogarty CONTENT MARKETING MANAGER

Carlene Olsen SOCIAL MEDIA MANAGER

Carly Colonnese CLIENT SERVICES SENIOR COORDINATOR

Julie Brooks

operations EXECUTIVE DIRECTOR, FINANCE & OPERATIONS

Reed Fry

949-223-1088 Betsy Alsip 949-223-1088 ITALY, SWITZERLAND

Riccardo Laureri 39-02-236-2500 media@laureriassociates.it SALES ASSISTANT

Drew Mount 917-934-2910 ADMINISTRATIVE ASSISTANT

Lorraine Brabant 917-934-2915

Lorri D’Amico 917-934-2861

business development

BILLING ANALYST

EXECUTIVE DIRECTOR

hall of fame DIRECTOR

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digital

Kimberly Do 917-934-2985

Featured in the Brooklyn Heights Designer Showhouse Kitchen by Jesse Parris-Lamb

executive vice president Pamela McNally

Regina Freedman 917-934-2835

Kathryn Kerns 917 934-2900 MANAGERS

Ava Ambrose 917-934-2868 Nora Fried 917-934-2883

subscription information CONTINENTAL U.S. 800-900-0804 ALL OTHERS 818-487-2014 subscriptions@interiordesign.net

101 Park Avenue 4th Floor New York, NY 10178 917-934-2800 interiordesign.net

W W W.WA L K E R Z A N G E R . C O M

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2/12/20 1:06 PM

e d i t o r ’ s welcome

what’s old is new…

I want to share something a bit personal with you.

During the course of my career so far, I must have seen and reviewed close to a squillion projects, and you know how it is: The flesh is weak. In this position, one may well start thinking she (or he) knows more than a thing or two about design, and maybe even thinks she could teach a thing or two about design. It’s a mindset I beat back promptly with a stick. It is poisonous and gets in the way of the absolute impartiality and crystal-clear fresh eye needed to perform my duties primly.

But sometimes, at the end of my workday, I dream about commissioning my own Fallingwater or Butterfly House. I yearn to contribute my own tangible design legacy, at least as a patron if not as a creator. Not to worry, though: A glorious Cindy Mansion is not happening any time soon, unless I develop a catchy schtick and crowdsource it! Yeah, right. For a working stiff like moi, the plain cost of building new is just a pipe dream!

However, a glorious Cindy Addition could definitely be in the charts. All I need is a house with a good-ish pedigree, historical background of sorts, or simply great bones and location, and, presto, I’m in the books! That’s how it goes for restoration and clever renovations, and I have proof of that right here...in fact, a whole issue of brilliant reimagining, rehabbing, and reinterpreting what once was. A French Colonial villa in Vietnam becomes a marketplace, complete with a modern sister building adjacent, thanks to Locatelli Partners; a derelict Romanesque Revival library from 1890 gets reborn as MuseumLab in Pittsburgh

by KoningEizenberg; and one building in Porto, Portugal, had almost as many lives as a kitty—a house, bank, insurance firm, warehouse, and dispatcher’s office—and is now the Exmo Hotel, in a designated UNESCO World Heritage site, no less.

So, you see? As we head into 2020 and beyond, it is, more than ever, the past that moves us forward into the future.

again!

Follow me on Instagram

thecindygram

PAUL GODWIN

MARCH.20

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INTERIOR DESIGN

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headliners

Asthetíque “Taking Flight,” page 108

“Respect and learn from the past.

Innovate for the future”

co-founder, creative director: Julien Albertini. co-founder, creative director: Alina Pimkina. firm sites: New York and Moscow. firm size: 12 architects and designers. current projects: Juniper showroom and Loreto restaurant in New York; Marriott Restaurant in Moscow. honors: NYCxDesign Awards honoree; IIDA Interior Design Competition Winner. role model: AvroKO, which finds the balance between business and art. on the side: Albertini is also head of design ex­ perience at June Homes. overseas: A Moscow native, Pimkina gets in­ spired by travel and is planning her next trip to Venice or Denmark. asthetique.com

“Design should be so good it gives you goosebumps”

HANNA HRABARSKA

MARCH.20

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INTERIOR DESIGN

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X+Living Architectural Design Co.

Locatelli Partners

“Creature Comforts,” page 116

principal, design director:

chairman, chief designer:

Massimiliano Locatelli. firm site: Milan. firm size: 80 architects. current projects: A mixed-use building in Milan; MCOE Manufactory Center of Excellence in Florence, Italy; a house in Los Angeles. honors: Best Sustainability Prize, Milan Design Week 2018. role model: Le Corbusier and his quote, “Architecture is the learned game, correct and magnificent, of forms assembled in the light.”

Li Xiang. firm site: Shanghai. firm size: 33 designers. current projects: YooYuumi Kids

Club Guangda Store in Beijing; FAB cinema in Taiyuan, China; MixC Ningbo mall in China. honors: Interior Design Best of Year Awards; Prix Versailles Award; Golden A Design Awards. role model: Zaha Hadid for her talent with the lines in architecture. objects: An antiques collector, Li’s recent acquisition was a century-old Tiffany & Co. coffeepot. beings: She has eight rescue cats at home and eight as studio mates. xxxxxx.design

“International Style,” page 132

local: Locatelli is co-founder of Fondazione Converso, a nonprofit art space in Milan’s San Paolo Converso, a deconsecrated Roman Catholic church. abroad: His firm also has a New York office. locatellipartners.com

h e a d l i n e rs

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INTERIOR DESIGN

RVD Associates

Johnson Favaro

“Reading California,” page 124 principal: Rodrigo Vargas. firm site: Los Angeles. firm size: 14 architects and designers. current projects: Breakers Hotel in Long Beach, California; AC Hotel in Washington. honors: Shaw Contract Design Award. role model: “I admire and learn from so many that it’s hard to list one.”

“Reading California,” page 124 principal: Steve Johnson, AIA. principal: Jim Favaro, AIA. firm site: Culver City, California. firm size: 12 architects and designers. current projects: Riverside Main Library, Museum of Redlands, and Rancho Palos Verdes Community Center, all in California. honors: Interior Design Best of Year Award honoree; Chicago Athenaeum American Architecture Award; ALA/IIDA Library Interior Design Award. role model: Frank Gehry, whose work is always surprising and humane.

graduate school: Vargas earned a master’s in architecture from MIT. grammar school: He and his partner have a 7-year-old daughter. rodrigovargasdesign.com

in the valley: Every spring, you’ll find Johnson at the Coachella festival. on the peaks: Every summer, Favaro takes a 10-day hike on the Pacific Crest Trail. johnsonfavaro.com

JIM FAVARO, STEVE JOHNSON

MARCH.20

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Diane Lam Design “Reading California,” page 124 principal: Diane Lam. firm site: Los Angeles. firm size: One designer. current projects: Riverside Main Library and the Mirman School for Gifted Children in L.A. role model: Maya Lin for her ability to communicate complex issues with beauty and grace.

KoningEizenberg Architecture “The Latest Chapter,” page 100 founding principal:

local: Lam has consulted on more than a dozen libraries and schools in and around L.A. afar: She is traveling to Mongolia this fall to see the annual Golden Eagle Festival. dianelamdesign.com

Julie Eizenberg, FAIA. firm site: Los Angeles. firm size: 23 architects and designers. current projects: A house on Shelter

SILENCE ILLUMINATED

Island, New York; University of Melbourne Student Precinct in Australia. honors: AIA LA Design Award; Australian Institute of Architects Gold Medal. role model: Ray Eames for her groundbreaking design, grace, and generosity. personal: Eizenberg met her husband Hank Koning in 1972 on their first day of architecture school at the University of Melbourne. professional: They founded KEA in 1981. kearch.com

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INTERIOR DESIGN

MARCH.20

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INTERIORS

Isamu Noguchi’s circa 1956 model in plaster and faux granite for Idlewild Airport is on view at the Noguchi Museum in Long Island City, New York, through August 23.

design wire edited by Annie Block

into thin air

COURTESY OF THE NOGUCHI MUSEUM ARCHIVES AND INFGM/ARS

The facility that opened in 1948 as New York International Airport has undergone myriad changes, particularly in the 21st century. It was just last year, for instance, that its TWA Flight Center, designed by Eero Saarinen in the early ’60’s, was transformed by Lubrano Ciavarra Architects, INC Architecture & Design, Beyer Blinder Belle Architects and Planners, and Stonehill Taylor into the TWA Hotel—and won an Interior Design Best of Year Award, to boot.

But it was 1956 when Isamu Noguchi was invited by Skidmore, Owings & Merrill to submit a concept for a monumental sculpture for the new International Arrivals Building the firm was conceiving for what was then called Idlewild Airport. Noguchi proposed a 25-foot-tall granite column but it was ultimately not selected (the commission went to Alexander Calder, whose .125 mobile now hangs in Terminal 4). A model of it, however, along with archival photographs and his Bird B sculpture are in “Composition for Idlewild Airport” at the Noguchi Museum in New York. Along­ side that exhibition is “The Sculptor and the Ashtray,” which examines Noguchi’s efforts to design a perfect mass-produced version of the receptacle.

MARCH.20

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INTERIOR DESIGN

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From top: Cross-laminated timber ceiling panels run above linoleum and carpet in the bowling alley at Germany’s Kegelbahn Wülknitz, a sports venue designed

by KO/OK Architektur. The prefabricated structure’s facade of painted rift-sawn larch.

king pins

d e s i g n w ire

SIMON MENGES

Principals of the fledgling KO/OK Architektur, Jan Keinath and Fabian Onneken were no experts in ninepin when they submitted their competition proposal for Kegelbahn Wülknitz, a sports venue in eastern Germany. But the two architects bowled a strike with their meticulously sleek and straightforward concept, beating out the 14 other firms.

The 6,600-square-foot venue centers on industrial warehouse construction, with much of the wooden structure prefabricated, which helped meet the project’s tight budget set by the clients, Wülknitz’s local council and ESV Lok Wülknitz e. V., the bowling club. Inside, where there’s a four-lane alley, café, locker rooms, and access to the 1½-acre soccer field, the sedate gray and palewood envelope is enlivened by swaths of Forbo linoleum in a color aptly named Berlin Red.

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MARCH.20

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shades of meaning

Clockwise from top left: Mirror 2, a 92-inchhigh acrylic and latex on wood by Odili Donald Odita, appears in the artist’s solo exhibition at New York’s Jack Shainman Gallery, April 2 to May 9. His acrylic on canvas Flower. Dukes of Hazard in acrylic-latex wall paint on wood panel. Nka, his acrylic latex on aluminum-core fabricated wood panel with reconstituted wood veneer. The acrylic on canvas Another Space.

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COURTESY OF ODILI DONALD ODITA AND JACK SHAINMAN GALLERY, NEW YORK

“I cannot make a color twice.” This statement comes from Odili Donald Odita, whose energetic, abstract paintings have sociopolitical references. In fact, he was recently commissioned to create a large mural for the Ford Foundation Center for Social Justice in New York. He goes on to say: “I’m asking the viewer to look into them­ selves and reflect upon the con­sequence of ac­ tions relating to gender and identity.” Odita is referring to “Mirror,” his upcoming spring exhi­ bition at Jack Shainman Gallery, across town from the FFCSJ. The show is composed of a new body of work of over a dozen paintings he’s done from 2018 to this year, some nearly 8 feet tall. But all utilize color and pattern as a commentary on the complexity of the world—and the human condition.

MARCH.20

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Marenco sofa design Mario Marenco

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d e s i g n w ire

From top: Michael Hsu Office of Architecture, headquartered in Austin, Texas, has launched a Houston studio inside a mid-century building encompassing 1,300 square feet and employing eight architects and designers. The 17-footlong, dried-floral ceiling sculpture by Davy Gray.

Business is booming in Texas. At least it is for Michael Hsu Office of Architecture. The firm, which specializes in hospitality and mixed-use projects, has been headquartered in Austin since 2005. But with an increasing number of Houston clients, and after discovering an attractive mid-century building there, principal Michael Hsu has officially opened a second office in the city.

After repainting the exterior white brick, englarging windows, exposing the original wood ceiling, and installing new whiteoak flooring, Hsu and team took advantage of the structure’s pedestrian-engaging storefront by commissioning Davy Gray owner Valerie Wolf for a site-specific ceiling sculpture that’s visible from the street. Formed from such dried flowers as amaranthus, tortum, and hydrangea, the installation mimics the “gentle slopes of a manicured and saturated earth-toned landscape,” Wolf says.

Adds Hsu: “We think of our studio as a living space first.”

CHASE DANIEL

company growth

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MARCH.20

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walk through

by the book SEBASTIAN DÖRKEN

firm: kinzo site: berlin At the headquarters of book publisher Suhrkamp Verlag, a system of custom HPL shelves appears throughout, including in a sitting area with a Rafael Horzon chair, also cus­tom.

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INTERIOR DESIGN MARCH.20

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2/11/20 5:36 PM

SEBASTIAN DÖRKEN

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SEBASTIAN DÖRKEN

Clockwise from top left: The shelving system also helps partition office areas. Tham & Videgård pendant fixtures hang in a kitchen, where the concrete shell by Bundschuh Architekten is visible. In the 1,000-square-foot event space, custom pine banquettes surround Färg & Blanche chairs. The client contributed another sitting area’s Eileen Gray table and Le Corbusier chairs. A meeting room features a Susanne Grønlund beanbag, Hans Roericht stools, and a custom table.

SEBASTIAN DÖRKEN

SEBASTIAN DÖRKEN

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A leading European book publisher founded in 1950, Suhrkamp Verlag is a household name in much of Germany. Its literary portfolio includes such international heavyweights as Samuel Beckett and T.S. Eliot.

Following a relocation from Frankfurt to Berlin in 2010, how­ever, financial troubles and internal strife left staff languishing for years at temporary headquarters.

But eventually the company found a permanent home in a six-story ground-up building by Bundschuh Architekten. At 35,000 square feet, the office is smaller than previous locations, but thanks to ingenious interventions by Kinzo, it not only accommodates the 135 employees but also displays thousands of the imprint’s titles in a way that’s both functional and decorative.

To make up for the trimmed size, Kinzo co-founder Martin Jacobs maximized space not by

using every trick in the book, but by using the books themselves instead. A system of simple white shelving appears floor-to-ceiling throughout the floors. “It’s not IKEA,” Jacobs says. “We really customized it.” As a result, sometimes the bookcases appear in a straight line; at others, they are formed with angles and corners.

The latter enables them to partition private and public spaces for the staff, distribute function without rigid corridors, and carve out an equal amount of editor space on each floor. “Our design is basically that of an open office, but, with the height and width of the shelving, employees don’t feel so exposed,” Kinzo co-founder Chris Middleton adds. Meeting rooms, office and sitting areas, and phone booths fall into niches created by the shelves, which “meander in order to fit in more books and help with acoustics,”

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Jacobs says. All the while, the rows and rows of book jackets add warmth and color to the industrial concrete shell.

On the top floor, hues are more scenic. The event space captures views of some of Berlin’s most famous landmarks, including the 1,200-foot Fernsehturm tower. Inside, however, Kinzo’s shelving system totals 16,000 linear feet.

AREA, MEETING ROOM). ZERO TOP: PENDANT FIXTURES (KITCHEN). E15: COUNTER STOOLS. JOHANSON DESIGN: CHAIRS (EVENT SPACE). CAMIRA: BAN­QUETTE FABRIC. POOL: TABLE (MEETING ROOM).

WILKHAHN: STOOLS. LIGHTNET: CUSTOM

Clockwise from top left: Carpet throughout is nylon. The book­ shelves stand 10 feet high.

Re­cessed LEDs zigzag around the shelves, which delineate a phone booth in an office area.

PENDANT FIXTURES. VESCOM: WALL COVERING (BOOTH). LANISOR: ACOUSTIC BOARD. THROUGHOUT SOFT­L INE: OTTOMANS, BEANBAG. KVADRAT: FABRIC. FORBO: CARPET. LIGHTNET G: LIGHTING CONSUL­TANT. GÄRTNER INTER­N ATIONALE MÖBEL FÜR BÜRO UND WOHNEN: FUR­ NITURE SUPPLIER. RAUMEFFEKT DIE MÖBELMANUFAKTUR: WOODWORK.

w a l k through

SEBASTIAN DÖRKEN

—Mairi Beautyman

FROM FRONT VITRA: SIDE TABLE (SIT­T ING

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2/10/20 5:52 PM

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PRODUCT: PAUL GODWIN; PORTRAIT: COURTESY OF WORKSHOP/APD

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MARCH.20

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®

TOUR DU MONDE

DEDON COLLECTION RILLY Design by GamFratesi DEDON Inc · 877 693 3366· office@dedon.us www.dedon.us

He’s a sculptor…

But his medium is typically corrugated cardboard—he once used it to construct an entire cityscape. But for “James Grashow: The Great Monkey Project,” at Fuller Craft Museum in Brockton, Massachusetts, through September 13, he cuts, carves, and bends 4-by-8-foot sheets purchased at his local box-making plant into 80 simian shapes, each approximately 4 feet tall and hung from the ceiling from rope that’s been arranged into horizontal ladderlike rungs. When asked if the humble material he uses is recycled, Grashow says no but that, “Everything is recyclable, including us.”

ROBERT GRANT

Ventanas™ w/sound absorbent PET

Steam™ PANEL ©2019 modularArts, Inc.

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SaoPaulo™ TILE ©2010 modularArts, Inc. Sarah Gallop Design, Vancouver | Photo by Paul Grdina Photography

Ventanas™ PANEL style: milk™ ©2019 modularArts, Inc.

Crush™ PANEL @2011 modularArts, Inc. Photo by Factioned Photo, @factioned

architectural features in modular, glass-reinforced gypsum.

modulararts.com

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leading man Craig Stanghetta’s theatrical past has helped him design dramatic projects in and around Vancouver, Canada

Interiors are all about “building a world and telling a story.” So says Craig Stanghetta, who has made a second career of coming by these skills honestly: He trained as a theater actor and performed for years in film and TV before entering the Vancouver, Canada, hospitality scene as a designer and a restaurateur. In the past decade he’s built Ste. Marie, his 14-person studio, into a powerhouse, shaping more than a half dozen of the city’s most distinctive bars and eateries.

The firm’s approach is to synthesize concept, identity, and human experience to create authentic spaces. Witness the 2015 restaurant Savio Volpe, which Stanghetta co-owns. Drawing on his Italian-Canadian heritage to establish a mood, pleated oak millwork meets banquettes upholstered in herringbone fabric that looks almost like it came from your Nonna’s house. The crafts­ manship and hints of family history carry on in newer foodrelated spaces, such as the Shaker-meets-Scandinavian concept for Flourist. Now Ste. Marie is taking that approach into larger, nonhospitality projects nearby and across the border in Washington State.

The principal and creative director of Ste. Marie at Caffè La Tana, the Vancouver, Canada, restaurant his firm designed in 2018 and he also co-owns.

CONRAD BROWN

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C R O S S lines

What did you carry with you from your acting career?

Craig Stanghetta: Growing up, I was interested in art and design, and the world-building aspect of the theater. When I got the chance to do a restaurant from the ground-up, Bao Bei, I took the same approach: to tell a story. It was a newer-generation interpretation of Chinese family dining traditions, rooted in an individual’s personal experience—matchbooks from a restaurant where the owner had worked in London, for instance, or a floral wallpaper that speaks to her childhood memories and looks like it’s always been there. I’m adamant about creating a personal narrative.

Restaurants that are successful are the ones that people feel a connection to emotionally.

How does that appear in newer projects like flour-retailer Flourist?

CS: Flourist is all about sourcing exceptional wheat that’s processed in a stone mill right in Vancouver. The concept is really tethered to the prairies, and there are associations with a farm lifestyle embedded in that. So we installed a communal table at the front of the space. The palette is a unified wheatlike color expressed in pale maple, ash, and pine and vinyl upholstery. But the language is a bit abstracted. There are also Shaker and Scandinavian influences.

From top: Jaybird, a yoga studio that opened in Vancouver last summer. The project’s schematic materials palette, including recycled cork tile and honed travertine, which made it into the final design.

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CONRAD BROWN

CONRAD BROWN

Opposite, clockwise from top: Headquarters for Vancouver real-estate developer Onni Group, completed in January.

Its custom marble reception desk. The dining room at Savio Volpe, a 2015 restaurant that Stanghetta also co-owns. Flourist flour shop, 2019.

The racks on the wall seem to be somewhere between functional and ornamental.

CS: Yes, people use them to hang their coats, but there’s also space for display. We’re trying to celebrate the idea of making things and that something as simple as a broom can be as beautiful as the art on the wall.

You’re working on a mixed-use project in Bellevue, Washington.

How do you translate your storytelling approach into large commissions?

CS: We’re actually focusing a lot of our energy on mixed-use projects these days, ones with residential, office, hotel, and food, beverage, and amenity spaces. The scale is completely different. For Bellevue, which is composed of three towers containing a hotel, offices, and apartments, we’re one of the lead consultants, helping with positioning and programming, and then creating a brief for the rest of the consultants to help fill in the narrative with landscape, wayfinding, and architecture. It’s a big site, so we need to have a lot of story

You just finished the office for real estate developer Onni. How was that experience?

CS: We treated it a lot like we would a restaurant, with booth seating and interesting lighting. There’s a lot of dark ash veneer, marble, and terrazzo. The setting has helped galvanize the staff to hang out together, since the design feels like it wasn’t just an afterthought. The unwritten message is that Onni is a company that cares about quality.

points and root them in something.

For public spaces, one reference is to the curious architecture and soft tonality of the contemporary Pacific Northwest cabin. There also used to be an old cinema on the site, so our design includes a minimal neon sign that cuts through the hotel lobby.

We’re layering in those types of notions, in ways that aren’t obvious.

But we know they’re there.

—Alex Bozikovic

CONRAD BROWN

CONRAD BROWN

Does Jaybird yoga studio push toward a different kind of beauty?

CS: Yes. There’s a big trend in health and wellness that’s about self-presentation.

But the Jaybird owner is looking to defy that. So our space is not all light and airy, rainbows, and butterflies. There are no mirrors, the palette is dark, and the studio itself is almost completely dark.

Some of the materials are oak plywood, granite, and honed travertine. Flooring is recycled cork that visually has a strong feeling of movement to it. It can be laid so the seams are almost invisible, creating a randomized pattern. Cork is unexpected in this context. It helps send the message: This is not like the 10 other yoga studios you’ve seen. If you want this particular experience, we’re here for you.

MARCH.20

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The world’s leading platform for commercial design neocon.com

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Design beyond

Beyond design

It was 1977 when Ian Schrager and his Syracuse University classmate Steve Rubell opened Studio 54, the iconic New York nightclub. Three years later, it shuttered.

But its impact, with such regulars as Cher and Diane von Furstenberg, perfor­ mances by Donna Summer, and its embodiment of sexual, gender, and creative liberation, lives on—and is even quite relevant today. “Studio 54: Night Magic,” at the Brooklyn Museum from March 13 to July 5, examines all this through disco-

inspired sets peppered with some 650 objects, including photographs by Guy Marineau and Dustin Pittman, an Yves Saint Laurent sketch, and an Andy Warhol acrylic and silkscreen, some donated by Schrager himself.

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FROM LEFT: COURTESY OF DUSTIN PITTMAN; COURTESY OF FONDATION PIERRE BERGÉ–YVES SAINT LAURENT, PARIS; 2019 THE ANDY WARHOL FOUNDATION FOR THE VISUAL ARTS, INC./LICENSED BY ARTISTS RIGHTS SOCIETY (ARS), NEW YORK; GUY MARINEAU/WWD/SHUTTERSTOCK

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From hotels, office meeting rooms and restaurant dining rooms to kitchens or furniture, Neolith® is the ideal material for indoor and outdoor applications, private or public spaces, for its limitless possibilities and ability to resemble natural materials such as stone, wood and metal. Coupled with low-maintenance and high-resistance qualities, Neolith® provides the essential balance between aesthetics and functionality.

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subtle glow Founded in 1969 by landscape architect John Chipman Sr., Landscape Forms has long been a purveyor of con­ sidered minimalism. Take Motive, a family of under­ stated LED fixtures by Most Modest principal Justin Champaign that blurs the line between indoor and outdoor lighting. The powder-coated cast-aluminum pole of the Motive Area lamp, 10 or 12 feet high, tapers to meet a flat cylinder concealing an indirect light source that sets the luminaire’s concave interior aglow.

Champaign was inspired by “the crescent moon and how light and shadow play together to create form,” he says. There’s also a wall sconce, a pendant fixture, and a cantilevered floor lamp—a first for the manufacturer. landscapeforms.com

outdoor

market

edited by Rebecca Thienes text by Mark McMenamin, Georgina McWhirter, Rebecca Thienes, and Colleen Curry

MOTIVE AREA

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VDL RESEARCH HOUSE

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PORTRAIT: COURTESY OF NEUTRA

TOP LEFT: J. PAUL GETTY TRUST, GETTY RESEARCH INSTITUTE, LOS ANGELES

VDL PENTHOUSE

m a r k e t outdoor

VDL PAVILION

DION AND RICHARD NEUTRA

build it back

PORTRAIT: COURTESY OF NEUTRA

TOP LEFT: J. PAUL GETTY TRUST, GETTY RESEARCH INSTITUTE, LOS ANGELES

“We updated methods and materials while respecting the house’s original structural details”

After a 1963 fire devastated Richard Neutra’s VDL Research House, the renowned architect and his son Dion rebuilt their Los Angeles residence, adding a rooftop solarium.

Now Kettal, under the supervision of the younger Neutra, has recreated the addition in VDL Penthouse, a 500-square-­ foot enclosed structure, and VDL Pavilion, an open version without glass walls. The horizontally oriented replicas are inspired by traditional Japanese architecture, with structural columns set back 4 inches to give emphasis to the cantilevering roof, which appears to float over the shell.

But while the concept is vintage, the deployment is futur­ istic, as the penthouse is equipped with the latest smarthome technology—there’s even a small weather station in the chimney. Choose from 30 frame finishes and a host of custom options. kettal.com MARCH.20

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“Its relaxed proportions invite you to take things easy”

GUAYMAS

resort ware Say hola to Guaymas, Christian Vivanco’s line for Los Patrones that looks straight out of the laid-back Mexican port city for which it is named. The all-steel series, which started with only a lounge chair, now includes three other pieces: a large, low cocktail table and two chaise longues, one with a cantilevered sun shield. Nickel-plated surfaces are micro-perforated for a sense of translucency while the tubes forming the frames loop around the silhouettes in mesmerizingly continuous lines. All come in olive green, soft cream, dark brown, black, navy blue, or terra-cotta red powder coats, and can be supplemented with cotton or Sunbrella acrylic pillows in the same six shades. lospatrones.mx

outdoor

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KINGSLEY BATE

ª

ELEGANT OUTDOOR FURNITURE

© Kingsley Bate. To the trade. T: 703-361-7000 F: 703-361-7001 www.kingsleybate.com [KB1294B]

m a r k e t outdoor

paradise found Heralded set and costume designer Catherine Martin, who’s behind the exuberant visuals of Baz Luhrmann films, first produced her La Palma print for Mokum as part of the Majorelle indoor fabric and wall covering collection. Now the hand-painted banana and fan palm fronds swaying in an imagined breeze are transferred to outdoor-ready solutiondyed polyester canvas. Dubbed Tropicalia, and shown on Trent Jansen’s Tidal sun lounger by Tait, the digital print’s six colorways span sepia tones, pinks and corals, and ocean blues and greens. Balancing the range is a jaunty stripe and solids in a nubby basket weave or a velvet indistinguishable from its indoor counterparts. mokumtextiles.com

“It has the luxurious look and hand of interior soft furnishings” TROPICALIA

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NEED A FABRIC TO WITHSTAND TODAY’S WORKPLACE DEMANDS? BELLA-DURA MEETS YOUR CHALLENGE.

Performance textiles for indoors or out.

Available through distributors. bella-dura.com

PATRICIA URQUIOLA

While traveling in Greenland, Patricia Urquiola noticed the proliferation of small trampolines outside houses. The discovery tickled the Interior Design Hall of Fame member’s playful side, giving rise to Trampoline, a round alfresco daybed inaugurating the first comprehensive outdoor furniture range by Cassina. The powder-coated stainless-steel frame with optional sunshade support is handwoven with chunky polypropylene rope details, while the 79-inch-diameter polyurethane foam seat is topped with a welcoming assortment of cushions, all upholstered in water-repellent fabric. Concurrent with the launch, Urquiola unveiled an outdoor version of Bowy, her nesting coffee table, with powder-coated aluminum bases and recycled fiberglass– composite tops, 28 and 36 inches in diameter. cassina.com

bouncy seat

TRAMPOLINE

MARKET

outdoor

“You create a friendly haven when people can enjoy the outdoors in comfort” BOWY

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LIMA COLLECTION BY HENRIK PEDERSEN

LOS ANGELES 路 CHICAGO 路 MIAMI 路 DANIA BEACH 路 NEW YORK FLAGSHIP WWW.GLOSTER.COM

outdoor

M A R K E T SCAPE

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Piet Boon for Heatsail

Janice Feldman of Janus et Cie

Enrico Fratesi and Stine Gam for Dedon

George Yabu and Glenn Pushelberg for Tribù

product Disc. standout The Studio Piet Boon founder warms up the outdoor scene with a heat-producing floor lamp in stainless steel and aluminum.

product Palmia. standout From the company CEO, a retro-style aluminum chaise longue with supersize wheels is topped by chevron polyvinyl mesh and optional cushions. janusetcie.com

product Rilly. standout GamFratesi’s cocoon chairs are wrapped in faceted panels vertically laced with strands of Dedon Touch, the brand’s latest proprietary material, to offer shade. dedon.de

product Elio. standout The Yabu Pushelberg partners enveloped their teak lounge chair in Tricord polyolefin-covered polyester rope for superlative weather resistance. tribu.com

heatsail.com

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fu r n it u re

lig h ting

a c c e sso r ie s

syste ms

N e w Yo r k | L os A ng e le s | ddc nyc . c o m

outdoor M A R K E T 1. Newbury indoor/outdoor

fabrics in Sunbrella acrylic by Seema Krish.

2. Barceloneta sun loungers in polyester powder-coated aluminum and Textilen PVCpolyester by IsiMar. 3. Elias tables in woven marinegrade polypropylene rope by Made Goods.

4. Hot Ball solar shower in solution-dyed resin, aluminum, and polyethylene by Unopiù.

5. Graphic coffee table, loveseat, and lounge chair in powder-coated aluminum and Sunbrella solution-dyed acrylic with Barcelona and Mixed Tape acrylic pillows by Stori Modern.

6. Gabriel Teixidó’s Paralel dining table and chairs in teak and synthetic rope by Point.

1

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See page 90 for sources.

3

here comes the sun These zippy pieces are pool-party ready

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NEW YORK

info-usa@gandiablasco.com

SOLANAS by Daniel Germani

MIAMI miami@gandiablasco.com LOS ANGELES losangeles@gandiablasco.com

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FAYE TOOGOOD

RECLINING FIGURE

drawn together

INTERIOR DESIGN

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OMAR SARTOR

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OMAR SARTOR

With a tendency to tinker, Faye Toogood flirts with fabrications until her vision is fulfilled.

Which may explain why it took a year of giveand-take with CC-Tapis for the multifaceted artist-designer to translate her abstract tapestries into rugs. It was worth the wait for Doodles, a playful series so named for the scribbly surfaces of the six designs. Fine and thick yarns of Himalayan wool in 40 dye colors are hand-knotted in Nepal, the pile hand-cut into organic shapes of varied heights and textures, then hand-stitched with graphic cotton detail. Her freethinking approach extends to pattern titles, with intriguing designations like Reclining Figure, Interior With Table, and Seated Nude sure to trigger reverseRorschach ruminations. cc-tapis.com

ABSTRACT COMPOSITION

WINTER STILL LIFE

INTERIOR WITH TABLE

“Our intention was not to create photocopies, but to capture materiality”

SEATED NUDE

OMAR SARTOR

OMAR SARTOR

MANTLE PIECE

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MARKET flooring

BATTLE JAVIER MARÍN

fight club

“It’s as much about the process as the final outcome”

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With nearly 300 solo and group exhibitions under his belt, Javier Marín is one of Mexico’s leading modern artists. Just one year shy of a century, Odabashian is one of the world’s oldest purveyors of handmade rugs. The contrasting credentials coalesce in Marín’s first limited edition of rugs and tapestries for the manufacturer. He conceived the Battle rug as a pictorial depiction of fighting, “even if only in our heads,” with a circular throng of skirmishing figures. “I started making free compositions, cutting characters in black paper and randomly throwing them over a white surface, creating different stories,” he recalls. The graphic mockup was ultimately hand-knotted in New Zealand wool using ancient Tibetan techniques, making the classic-contemporary mash-up complete. odabashian.com

MARCH.20

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Zayn

Made in America | Versteel.com

m a r k e t collection flooring

USONIAN

SCHWARTZ

“It's thrilling to work with materials that are this rich”

wright on The hallmark of a legend is a legacy that keeps giving.

Classic Rug Collection presiDAVID WRIGHT dent Barbara Barran learned that firsthand when the manufacturer was challenged by the Frank Lloyd Wright Foundation to update the architect’s iconic designs, not merely reproduce them. “I cropped some and flipped and added to the originals. It was truly a process,” she says. The Signature collection offers hand-knotted wool rugs such as Hoffman, originally proposed for a 1957 home, and hand-tufted wool patterns like David Wright, designed and named for his son in 1954, based on a Liberty magazine illustration. Usonian, a series of cotton flatweaves and vinyl floor cloths, adapts motifs from the perforated boards common in Wright’s affordable homes as an alternative to stained glass. See Schwartz, a 1939 design for a Wisconsin client. classicrug.com

HOFFMAN

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PORTRAIT: COURTESY OF THE FRANK LLOYD WRIGHT FOUNDATION ARCHIVES (THE MUSEUM OF MODERN ART | AVERY ARCHITECTURAL & FINE ARTS LIBRARY, COLUMBIA UNIVERSITY, NEW YORK). ALL RIGHTS RESERVED

FRANK LLOYD WRIGHT

MARCH.20

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Capri Lounge + Reverse occasional

by Piergiorgio Cazzaniga

Visit our showrooms

Chicago New York

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Boston Denver

m a r k e t m i c r o flooring

“Designers should give makers the space to embed their vision”

festive flair manufacturer EMKO product Chaos. standout Leftover yarn is recycled into colorful tufts underfoot.

Confetti on the floor is the detritus that marks a good party. This hand-tufted linen rug emulates the look, all while caring for the planet. When designer Audrone Drungilaite visited a manufacturer in Paneve·žys, Lithuania, and learned that yarn leftover from rug production is stored without a plan for future use, she had a brainwave. To a rug with a one-color ground (she chose caramel or royal blue) one could add contrasting tufts from the scrap materials available that day. Each rug is unique, but guidelines ensure consistency. There are always three pile heights within each 78- or 98-inch-square rug, and the colourful yarns are divided into seven groups (the more hues, the better the rug will look, Drungilaite notes). emko.it

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ENIGMA

PETALI

FOGLIE

VENTAGLIO

RIFLESSO

RIQUARDO

“Avant-garde aesthetics merge with the elegance of oak”

new optics With their superior durability, porcelain stoneware tiles that imitate hardwood floors have become an industry mainstay. But in the Dimore collection, Emilceramica produces a twist on the genre: faux-bois marquetry. Available in eight geometric patterns, from dizzying Enigma to stately Foglie, each tile comprises four tones that mimic the shades of natural and stained oak. The 8-inch-square tiles can be applied in eye-popping arrangements, creating the illusion of a three-dimensional surface, whether that’s a bathroom floor or a kitchen backsplash. Plain planks in the same wood tones are a complementary addition. emilgroup.it

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guest rooms by

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by Brintons

to learn more reach out to your local Brintons sales representative or visit us at www.brintons.net

EASY ME 01

“What I love about rugs is that they’re functional works of art”

match fit As the owner and head creative behind Rug Star, Jürgen Dahlmanns chases collaborations far from his Berlin studio—in this case, some 5,000 miles. While working with Portland, Oregon, flooring retailer Christiane Millinger, Dahlmanns met Howells Architecture + Design principal Michael Howells. Their mutual appreciation of modern art sparked a dialogue that culminates in Color Is Our DNA, a series based on the architect’s original abstract artwork. Hand-knotted in silk and wool by Rajasthani artisans, the nine varieties include Easy Me 01 and 02, their custom-sized grounds overlapped with painterly swaths of color. Howells ultimately traveled to India, where the finished rugs were donned in the manufacturer’s customary robing ceremony that celebrates the completion. rugstar.com

EASY ME 02

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product Kado. standout The industrial and interior designer whose star is rising crafted a worsted merino wool rug with an Asian-inspired sun shape offset by a traditional vine design.

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product Aria Aperta. standout The Italian manufacturer’s art director expands its patented line constructed from coconut fibers by adding playful multicolored polyester yarns into the mix.

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PORTRAIT 1: NOE DEWITT

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something’s afoot Imaginative patterns take the stage 1. Loft collection rugs in bamboo silk and cotton by Mohebban Milano.

2. Tavia Nova rug in wool by Stark.

3. Virginia Langley’s La Valeureuse Definity broadloom carpet

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4. Mary Katrantzou’s Framis rug in wool and silk by the Rug Company.

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6. Tali Roth’s Peggy’s Party rug in hand-tufted wool and Tencel rayon

by Empire Collection Rugs.

See page 90 for market sources.

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sweet sensation Japanese ceremonial teahouses inspired Ryusuke Nanki’s culinary exhibition in Tokyo

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1. Architect Ryusuke Nanki used Adobe Illustrator to plan “Toraya: The Principles of Wagashi,” her multimedia exhibition at a Tokyo mall on the making of the centuries-old Japanese confection. 2. To evoke a teahouse, where wagashi are typically served, a flexible canopy, first conceived in this sewing-thread model, was erected over the displays. 3. When suspended from a central point, the canopy mimics the peaked roofs found in traditional Japanese architecture. 4. For the final model, installed at Nanki’s studio, Hinoki cypress dowels were tethered together with knotted Kevlar rope.

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architects, designers, and exhibition producers led by Ryusuke Nanki

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450 DOWELS

72 square feet

(expanded canopy)

10 square feet

(collapsed canopy)

RYUSUKE NANKI

49 FEET OF ROPE

“Wagashi are meant to be enjoyed in intimate spaces, so I re-created the teahouse experience” MARCH.20

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c e n t e r fold

On view last fall in a lounge at Tokyu Plaza Ginza, the in­ stallation included finished wagashi by the 500-year-old confectioner Toraya, which sponsored the exhibition, animated wagashi-making videos scripted by Nanki, and custom plywood pedestals, all set under the canopy, its squarelike apertures derived from the shape of the dessert.

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ALL IN THE MIX

march20 Big concepts meet thoughtful details

SHAO FENG

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the latest chapter

KoningEizenberg turns a derelict landmark library into MuseumLab, part of the Children’s Museum of Pittsburgh

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text: edie cohen photography: eric staudenmaier

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Life holds no guarantees. But KoningEizenberg Architecture was undoubtedly a front-runner when the Children’s Museum of Pittsburgh, successfully completed by Hank Koning and Julie Eizenberg’s Los Angeles firm back in 2005, decided to expand in terms of both physical space and overall mission.

That first project had been a hybrid: partly adaptive reuse, entailing an 1897 post office and a 1939 planetarium, and partly new-build, joining the two structures with a glass entry pavilion. The latest plan was to convert a vacant building on the 6-acre campus into MuseumLab, a place where kids 10 years and older could experience art and technology—participation and hands-on learning would be operative principles—while discovering the history of the derelict edifice.

Quite a history it was. The Romanesque revival Carnegie Free Library, dating to 1890, was the very first of the hundreds of libraries across the U.S. commissioned by Pittsburgh steel baron Andrew Carnegie. During the 1970’s, the interior was “improved,” i.e. rendered a white-box setting with drywall hiding characteristic architecture.

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Then lightning literally struck, sending a 3-ton chunk of granite crashing through the roof. The library closed—and remained that way until the return of KoningEizenberg, led this time solely by Eizenberg.

She jumps right in: “There was already trust between them and us that we could implement their vision as well as take risks.” That vision was again a hybrid, albeit of a different sort from the first project. MuseumLab would share the building with Manchester Academic Charter School and a coworking space for educational nonprofits.

Straight off, Eizenberg says, she made a choice: “Instead of removing the eccentricities of the old building to regularize the spaces, we took the opportunity to embrace nongeneric settings.” She embarked on something of an archaeological dig, stripping away the interventions. Archways, column capitals, and mosaic flooring were discovered.

Plaster was purposely left rough. Her sense of discovery foreshadowed the one that the kids would ultimately have, navigating MuseumLab. Now the architect could organize the 44,000 square feet according to program. It starts in the

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Previous spread: Archways from 1890 define the main gallery at MuseumLab, designed by KoningEizenberg Architecture for the Children’s Museum of Pittsburgh. Opposite: Acrylic fronts the lobby’s information desk. Top, from left: FreelandBuck contributed Over View, the gallery’s ceiling installation, constructed from digitally cut fabric supported by cable. Commissioned from Ryder Henry for the lobby ceiling, a cardboard sculpture purports to be a 1:200 scale model of a fantasy spaceship. Bottom: Heatherwick Studio’s spinning seats enliven the gallery.

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Top: A floor mosaic in the gallery is original to the space, formerly the library’s reference room. Bottom, from left: Steel grating from library stacks was repurposed to separate the stairs from the lobby. At the rear of the events space, square footage was gained by roofing in a light well and adding a mezzanine.

Opposite: The lounge features Verner Panton chairs and a mural by Ramon Riley, referencing a World War I monument at another Carnegie Library.

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lobby, splendid with architectural elements both newly revealed and actually new. Behind the glowing information desk rises a partition built with steel grating repurposed from the library stacks.

However, what really draws the eye upward—and holds it—is a colorful suspended sculpture, a composition of concentric interlocking rings recalling a fantasy spaceship.

Beyond, the former library reference room has become the central exhibition gallery. Its ceiling,

menting with art, including sculpture, and for artists’ residencies, intended to foster collaboration between amateurs and pros. Make Lab is stocked with traditional woodworking and metalworking equipment in addition to laser cutters and CNC routers—physical and digital tools that enable kids to, well, make stuff, from furniture to musical instruments and clothing. Most cutting-edge is Tech Lab, introducing kids to coding, augmented reality, and video-game design.

once boasting a skylight by Louis Comfort Tiffany, is now capped by an installation of fabric strips layered to recall the long-gone leaded glass. To either side of the gallery are the labs that give MuseumLab its name. Studio Lab is for experi-

Need a break between activities? Up on two, Eizenberg outfitted a lounge with Verner Panton chairs discovered in storage. Surveying the scene from an arched niche, a mural depicts Winged Victory, a reference not only to the ancient Greek

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Above: An erstwhile card catalog in Make Lab contains woodworking tools and other supplies.

Opposite top, from left: Completed in 1890, the granite landmark is listed on the National Register of Historic Places. Maureen Welsh’s composition, painted on the floor and wall, doubles as way-finding for the co-working space. Opposite bottom: Manchester Academic Charter School’s section of the building includes a library.

original but also to a version created as a World War I monument to stand outside another Carnegie library nearby.

The events space exists courtesy of Eizenberg’s decision to acquire more usable space by enclosing a light well. It now has a scrimlike roof system and skylights, plus runs of translucent glass panels in the floor to allow the sunshine to penetrate further down. She gained still more space by inserting a cantilevered mezzanine. Students at the charter school gather here during the day. Equally important are the revenue-generating private events that take place on evenings and weekends.

Most of the upstairs is used exclusively by the school. How cool is it that 140 middle-schoolers start their morning passing by MuseumLab to arrive at their classrooms? Consciously or not, students are discovering and learning each step of the way. As for formal learning, the school takes a project-based approach, so classrooms have movable tables in lieu of desks. In the library, sure, there are books, but they are not its core. “The idea of knowledge-building shifts from physical books to access to skills,” Eizenberg says. “It’s about equipping the next generation for the workplace.”

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Meanwhile, today’s nonprofits already occupy the co-working space downstairs. There’s art here, too, bringing interest to the windowless main corridor. Make no mistake, however. These companies, focusing on the education arena, are seriously devoted to the knowledge economy that has fueled Pittsburgh’s postindustrial comeback. Andrew Carnegie would be proud.

PROJECT TEAM IAN SVILOKOS; NATHAN BISHOP; JOHN DELANEY; MANDI ROBERTS: KONINGEIZENBERG ARCHITECTURE. PERFIDO WEISKOPF WAGSTAFF + GOETTEL: ARCHITECT OF RECORD. PENTAGRAM: CUSTOM GRAPHICS. LAM PARTNERS; STUDIOI: LIGHTING CONSULTANTS. AES ATLANTIC ENGINEERING SERVICES: STRUCTURAL ENGINEER. IAMS CONSULT­ ING: MEP. LANGAN ENGINEERING AND ENVIRONMENTAL SERVICES: CIVIL ENGINEER. XYZ CUSTOM: WOODWORK. MASCARO CONSTRUC­ TION COMPANY: GENERAL CONTRACTOR. PRODUCT SOURCES FROM FRONT CB2: SOFAS (LOBBY). MAGIS THROUGH HERMAN MILLER: SPIN CHAIRS. VITRA: CHAIRS (LOUNGE). KAWNEER: STOREFRONT SYSTEM (CO-WORKING). INTERFACE: CARPET TILE (SCHOOL). KI: SOFA, CHAIRS. SPACESAVER CORPORATION: BOOKSHELVES. THROUGHOUT FINELITE; SPECTRUM LIGHTING: LIGHTING. PPG ARCHITECTURAL COATINGS: PAINT.

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taking flight Russian aeronautics and space travel set the theme at Moscow’s Cafe Polet by Asthetíque text: elissaveta m. brandon photography: mikhail loskutov

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Previous spread: Black-birch paneling and stainless-steel doors channel Russian constructivism in the first dining zone at Moscow’s Cafe Polet by Asthetíque.

Above: Based on classic science fiction movies, Sergei Sudakov’s sculpture brings a human dimension to the restaurant’s aeronautical theme.

Opposite top: In reception, table numbers in the form of stainless-steel aircraft silhouettes stand under a glass-dome porthole. Opposite bottom: Beneath the custom stainless-steel reception desk, striped concrete flooring evokes the markings painted on an airport runway.

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Located just outside Moscow, Khodynka Field is where Russian aviation was born. The nation’s first powered aircraft took off there in 1910 and the large open space became Khodynka Aerodrome. Although the airport, which functioned under various names during the 20th century, closed down sometime after the dissolution of the Soviet Union, its legacy lives on. And now a nearby restaurant by Asthetíque pays homage to the area’s aeronautical heritage.

Created by restaurateur Kira Baybakova, Cafe Polet (Russian for flight) finds myriad ways to evoke the distinct forms and flavors of Soviet-era aviation and its extension into outer space. The theme of flight is, of course, front and center: Little stainless-steel aircraft silhouettes, mounted on stands, serve as table numbers or, affixed to a circular column and individually backlit, conjure some jet-age lepidoptery display; glass-dome portholes bring to mind space-shuttle windows or cosmonauts’ helmets; and the entry’s striped concrete floor mimics the painted markings on an airport runway—“taking the idea of a landing strip, but then modernizing it,” Asthetíque founder and creative director Julien Albertini says.

Albertini and co-founder and co-creative director Alina Pimkina balance these easy-to-read aeronautical references with elements derived from 20th-century art and architecture, most importantly, Russian constructivism. An art movement that originated just before the 1917 Revolution and soon expanded into architecture, constructivism combined abstract geometrical forms, technological methods, and industrial materials to produce dynamically futuristic, socially conscious works. Cafe Polet shines with characteristically angular, visually energized constructivist details. “We were trying to shed light on the beauty of Russia and its history,” Albertini continues. In fact, one of the 6,800-square-foot restaurant’s most striking elements—a bas-relief wall panel that depicts abstract aircraft taking off like rockets—artfully fuses aeronautical and constructivist themes. Seemingly solid concrete, the slab is actually made of plywood mounted on MDF board and coated with a thick layer of plaster; strategically placed LED backlighting makes the sculpting appear even more three-dimensional.

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“The idea was to take aeronautics beyond the machine level, to show humans taking flight” Overall, the restaurant’s range of references feels surprisingly eclectic. Fluted columns flanking a waiter station near the entry, for instance, bear a pair of nearly 12-foot-tall winged female figures with a gleaming silver-paint finish. Soaring beings inspired by classic science-fiction movies, these stylized, faceted forms variously suggest cubist sculptures, art deco bronzes, or Soviet heroic monuments. “The idea,” Albertini says, “was to take aeronautics beyond the machine level, to show humans taking flight.”

“We were working with a large site with high ceilings and huge windows,” Pimkina adds. “The aesthetics of the space age were a great inspiration in dealing with it.” Although the vast main dining area is open plan, the designers use columns and trellises covered with ivy to break it up into an enfilade of seven smaller zones, including a coffee shop with its own street entrance. Each section is further distinguished by its furnishings and fixtures, many of which were custom designed for the project.

(The chairs are going into production, available through Asthetíque next year.) The first dining zone is outfitted with pink marble-topped tables paired with what the firm dubs the Penguin chair due to its chunky, velvet-upholstered profile. The following

Top: In the second dining zone, custom chairs, tables, and banquettes are backed by ivy-covered trellises. Center: Oak flooring with brass inserts, custom velvet-upholstered Cosmos armchairs, and a mural featuring quotations about flight, all custom, meet in the private dining room. Bottom: The coffee shop also has a custom mural.

Opposite: The Russian constructivist theme is most purely expressed in the second dining zone with a bas-relief panel of plaster-coated plywood.

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three dining areas all feature the Sailor Moon chair—so named because its perky crescent-shape backrest resembles the headpiece of the famous Japanese anime character—upholstered in smoke-gray, ink-blue, or pale-pink velvet according to location.

Overhead, the light fixtures differentiate areas too. There are large ceiling-hugging brass-edged glass disks arranged in ordered rows like a squadron of flying saucers in the first zone, clear-glass globe pendants hung at varying heights like a solar system of transparent planets in the second zone, and pink glass disks suspended at vertiginous angles like spacecraft in an intergalactic ballet in the fourth. They’re all supplemented with ambient cove and backlighting to soften the ambience.

Indeed, despite the Star Wars vibe, the color palette at Cafe Polet is remarkably calm—dusky pinks, wispy grays, subtle blues—in line with what Albertini sees as a strong trend. “There’s a huge push for pastels,” he says. Their deployment here is part of a constant tension throughout the space between hard-edged assertion and low-key modulation. “When you blend those two things together, you get a really interesting style. You have some feminine tones, but you also have this masculine strength that brings a natural balance.”

It’s safe to say that Cafe Polet’s mix of references, tones, materials, and colors has more than met the client’s request that the restaurant be catnip for social media. If the constructivist bas-relief or the pair of towering space goddesses don’t do it for Instagrammers, there’s a plethora of other vistas and vignettes that will. And surely those who make it to the private dining room—one of only two enclosed spaces—will have difficulty not snapping the frieze of flight-related quotations painted in dramatic silver on its black walls. As the words attributed to Leonardo da Vinci put it: “Once you have tasted flight, you will forever walk the earth with your eyes turned skyward, for there you have been, and there you will always long to return.”

PROJECT TEAM ILYA MOZGUNOV; ANNA LUTAEVA; DENIS KLEIMENOV: ASTHETÍQUE. HANDLE STUDIO; SFERA DECORA: LIGHTING CONSULTANTS. NEWTONESYS: AUDIOVISUAL CONSULTANT. SK PILOT: HVAC CONSULTANT. PRODUCT SOURCES FROM FRONT SV ONE: CUSTOM DOORS (FIRST DINING ZONE), CUSTOM TABLE NUMBERS (RECEPTION), AIRCRAFT INSTALLATION (SECOND DINING ZONE), CUSTOM BRASS MOLDINGS (RESTROOM). DIOS-DÉCOR: CUSTOM CURTAINS (FIRST DINING ZONE). NEWSTILE KOVKA: TREL­ LISES (FIRST DINING ZONE), BRASS TABLE BASE (PRIVATE DINING ROOM). UNIKA MØBLÄR: CHAIRS (COFFEE SHOP). DESIGN MIXTURA: CUSTOM SINK (RESTROOM). KLUDI: SINK FITTINGS. THROUGHOUT H&M HOME: VASES. HORECA MASTER: CUSTOM CHAIRS, CUSTOM TABLES, CUSTOM BANQUETTES. DECOARTMOS: CUSTOM MURALS, PLASTERWORK. FINOARTE: CUSTOM METALWORK, GLASSWORK, CONCRETE FLOORING. EURO TREND: OAK FLOORING.

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Opposite top: Sergey Gravchikov chairs face another custom mural in the coffee shop. Opposite bottom: A custom con­ crete sink serves the men’s bathroom.

Above: Custom velvet-upholstered chairs face a concreteplastered structural column, on which little stainless-steel airplane silhouettes are mounted and backlit.

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creature comforts X+Living’s Parkzoo Xiangyuan Hangzhou, a Chinese hotel, is wild at heart—but cosseting, too text: jen renzi photography: shao feng

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There are many ways to foster and indulge a love of animals.

Volunteer at a dog shelter. Bird-watch in the Everglades. Commune with lions on African safari. Paddleboard alongside dolphin pods in the Azores archipelago. Or book a long weekend’s stay at Parkzoo Xiangyuan Hangzhou, a hotel in China where it’s possible to perch on a giant red hippopotamus, take selfies with a statuesque pink flamingo, and sip a latte while getting mooned by a rainbow coalition of civets.

Threaded throughout Parkzoo’s public spaces, such features (all 3-D printed in resin) might seem designed simply for generating Insta-moments. And in fact, X+Living Archi­tec­ tural Design Co., which masterminded the hotel’s interiors, has developed something of a reputation for fantastical, dreamy environments as photogenic as they are functionintensive, frequently playing with spatial perception and distortion. But chairman and chief designer Li Xiang had a higher purpose in mind by going wild at the 195,000-square-foot property, located in the city’s tourist-friendly Gongshu district. “These animals are not just an eye-catching aesthetic 118

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device to inject contour and shape into the scheme,” the architect begins. “Their use as decoration is also a public interest prompt, a way to draw attention to the plight of en­dangered species.” They’re also all designed by her and her team at Xiang Casa, Li’s furniture company.

The aforementioned wall of cat butts, for instance, is act­ ually a Xiang Casa installation called The Production of Civet Coffee—a critique of kopi luwak, the caffeinated Indonesian beverage brewed from beans that have been digested and expelled by the furry felines, whose population has been devastated by illegal poaching. And that hippo near check-in is actually a bench, the seat designed to mimic highway asphalt.

“It’s a metaphor for the human activities that have hugely damaged animal habitats,” Li says.

Property owner Bozhu Hotel Management Group hatched the zoological concept as a way to attract families and young travelers. The company approached X+Living, which had recently designed two other hip hotels in Hangzhou, after a false start with another firm. Li often weaves subtle social

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Previous spread: A custom hippopotamus and walrus, both 3-D printed in resin, anchor the lobby of China’s Parkzoo Xiangyuan Hangzhou, a hotel which X+Living Architectural Design Co. conceived to draw attention to the plight of endangered species and other societal ills.

Opposite: The double-height space’s black-and-white elements riff on zoo cages and zebra stripes.

Top, from left: An illuminated canopy shelters the hotel entrance. The lobby hippo, designed by Xiang Casa, a furniture offshoot of X+Living, is actually a bench, the seat also 3-D printed. Bottom: Tamed Elephant, in resin, joins sectional seating with mismatched lamps in the lounge.

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Opposite top, from left: Mounted on a tempered glass panel in the coffee bar is Cruel Tiny Pills. A custom ladder ascends to a wire pendant fixture in the lobby. Opposite bottom, from left: The ladder and shade are nods to Noah’s Ark. The Production of Civet Coffee, also in resin, appears in the coffee bar.

Above left: A custom 3-D printed flamingo lamp stands in a guest-room corridor. Above right: An oil painting of a zebra garnishes an elevator.

messages into her work, and with Parkzoo she thought to elevate the animal theme by threading in elements that visually delight and provoke discussion. “I told the client I wasn’t looking to create a space decorated with adorable animal toys or installations,” Li recalls, “but to instead incorporate a public-interest theme centered on wild animal protection and environmental conservation.” (It’s a topic that hits close to home for the animal lover, who has several rescued cats.)

The project was completed in about three months, which Li reveals is a typical timeline for Chinese hospitality dest­ inations. In reinventing the 22-story edifice, designed in the 1980’s and rebuilt in 2007, the biggest challenge, she says, was “to create a property that meets business demands while also performing as a sort of exhibition hall focused on this serious topic.” The airy double-height reception area and

adjacent fireside lounge and coffee bar received the most gallerylike treatment, furnished with sizeable sculptures and wall installations that stretch from floor to ceiling, while the amenity spaces (including a karaoke hall and a badminton gym) are a bit less conceptually indulgent. Elevator lobbies and interiors were treated as more intimately scaled moments to invite contemplation: An oil painting of a zebra accom­ panies guests as they ascend one lift, while another hippo welcomes them to floor 20.

Mammoth mammals aren’t the only outsize design moves.

In the coffee bar, patrons can dine in chairs with colossal forks for backs. In the neighboring lounge, an omnidirectional seating unit is set aglow by a cluster of lamps, each capped with a different style shade. A sub-theme of multiples unifies other graphic features, not only the wall-mounted artworks—monumental grids of pistols, painted-wood pills, and crushed cans that symbolize various societal ills—but also colored dots that embellish corridors leading to the 286 guest rooms.

Those accommodations, which include family-friendly suites, are distinguished by a restrained black-and-white palette and trompe l’oeil wall covering that conveys the effect of classical plaster moldings. Flanking the bed are asymmetrical ottomans, one tufted, the other striped. “The shapes are unconventional because we wanted them to look wildly formed, to echo the project theme,” Li says. As in other MARCH.20

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parts of the hotel, the rooms’ spatial composition offers a coun­ terbalance of spare and dense, abstract and representational.

That posture is perhaps best reflected in the lobby, though.

Crisp black lines that stretch across the floor and morph into spatial dividers make visitors feel as though they’re stepping into a zoo cage. Above, a wireframe pendant fixture encased in an oversize boxy black shade takes the form of a boat, part of an installation dubbed Noah’s Ark and the Ladder. “It poses a question to the audience: When the flood comes and the whole world is in danger, will everyone be able to climb the ladder to the ark and be saved from their own guilt?” As for our own answer, we’ll have to sleep on it.

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Above: A restrained palette distinguishes the guest rooms, with custom ottomans by Xiang Casa and faux plaster wall detailing.

Opposite top: Another hippo sculpture greets guests at the 20th-floor elevator bank. Opposite center: Partitions of tempered glass divvy the coffee bar, with custom sofas. Opposite bottom: The grid of pistols composing Slaughter in Broad Daylight occupies a wall in the lounge.

PROJECT TEAM FAN CHEN: X+LIVING ARCHITECTURAL DESIGN CO. JUSTIN CHEW; ZHENG MINPING; YANG HUAN: XIANG CASA. PRODUCT SOURCES THROUGHOUT ZHULOGIC: CUSTOM ART INSTALLATIONS, CUSTOM SEATING.

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reading california Historic West Coast architectural styles are reinterpreted at the Costa Mesa Donald Dungan Library by Johnson Favaro, Rodrigo Vargas, and Diane Lam text: jeff book photography: eric laignel

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Johnson Favaro has designed many civic buildings in Southern California, but that doesn’t make the process any simpler for co-principals Steve Johnson and Jim Favaro. “It can be a heavy lift to get a city to invest millions in a public building rather than in something that may seem more pressing, such as infrastructure,” Favaro admits. For the city of Costa Mesa, however, the architects were able to overcome that familiar reluctance with a master plan for the multiphase redevelopment of an old urban park, with a new two-story library as its starting point.

The mix of existing facilities on 10-acre Lions Park included an 8,000-square-foot library from the 1980’s and a community center. “It wasn’t economically feasible to renovate the center,” Favaro explains, so it was demolished to make way for the Costa Mesa Donald Dungan Library, its smaller footprint—along with a turfed-over parking lot—allowing for the creation of a 1-acre lawn. “Open space is at a premium here, so getting more parkland was a strong selling point,” he adds. Recycling counted, too: The second phase of the $36.5-million master plan will see the old library transformed into a new community center.

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“People ask why cities are still building libraries,” Johnson notes. “A library is about more than books; it’s about community engagement.” Involving the citizenry means extra hurdles for architects but, again, that’s nothing new for a firm known for its civic work. “We’re committed to the public sector, as difficult as that can be,” Johnson continues. “We enjoy talking to people who aren’t used to discussing design, discovering how a building fits into the cultural environment as well as the physical one.”

This library was partly shaped by Southern California’s legacy of midcentury modernism as well as the streamlined forms of the aerospace industry, which has flourished in the state since the ’40’s. “Costa Mesa was strawberry fields until the mid ’50’s, when it joined the postwar boom,” Johnson reports. “We wanted to reference that energy and

Previous spread: For the Costa Mesa Donald Dungan Library by Johnson Favaro, the concrete-plastered facade is a nod to the adobe Spanish mission style ubiquitous in Southern California since the 18th century.

Opposite: Natural light entering through the oversize entry portal and the invertedarch window helped the public project earn LEED Gold certification.

Top: The interiors, by RVD Associates and Diane Lam Design, feature a reading room furnished with Patricia Urquiola chairs and modular seating by Karel Boonzaaijer and Dick Spierenburg.

Bottom: Built-in white-oak shelving contains used books for sale.

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Right: The skylight echoes the shape of the staircase, its treads and risers sheathed in porcelain tile.

Opposite top: Seated in Erwan Bouroullec chairs, reading-room visitors look out on the site’s new 1-acre lawn, formerly a parking lot.

Opposite center: The stream­lined aesthetics of the aerospace industry also influenced the library’s architecture, which has minimal or deeply recessed windows to control sun exposure. Opposite bottom: Painted gypsum board forms the staircase.

“A public library is about more than just books; it’s also about community engagement”

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fluidity.” But the project also channels an older California architectural tradition: the adobe structures of the Spanish mission style, which first appeared in the 18th century. “Too often you get watered-down versions that denigrate the original,” Johnson asserts. The resulting design draws on its various influences in powerful yet subtle ways. Thick, concreteplastered walls evoke the mass of white-washed adobe. Swooping curves and recessed cutouts create a dynamic sense of space.

The 22,500-square-foot building dispenses with neoclassical symmetry, tailoring facades and interiors to optimize function and leverage natural light, the latter by installing expansive windows and skylights. To help conceptualize the interiors, Johnson and Favaro turned to architect Rodrigo Vargas, whose firm RVD Associates specializes in hotel projects. “Creating a public environment nowadays aligns very much with the best of hospitality,” Johnson acknowledges. For the library, Vargas selected furnishings and palettes, opting for such real materials as porcelain tile for flooring and white oak for built-ins. “As with hospitality, our work was very much about the users’ experience, how to enhance it and make sure they come back,” he says.

The first floor is a bustling social space, with meeting rooms and offices off a generous reception area. Visitors are greeted by shelves of best-sellers and new arrivals as well as an interactive screen detailing upcoming events. At the rear, the children’s library invites young readers to linger with playful wall recesses framed by whimsical graphics.

The second floor, reached by a sweeping staircase, offers a counterpart to the great lawn: a grand reading room. “It’s a soaring volume with views out to the park,” observes Diane Lam. Principal of her eponymous firm, Lam specializes in public library design and its particular procurement requirements, which made her essential in FF&E specification as well as in adjusting concepts where necessary. “We outfitted the space with beautifully crafted carrels and study tables, along with

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Below: Behind a Claudia & Harry Washington lounge chair in the children’s library, adhesive film, textiles, and plastic laminate combine in Johnson Favaro’s custom cubby wall.

Opposite top: Stainless steel frames the openings, while porcelain tile wraps the building’s base. Opposite bottom: The teen reading room is delineated by a glass wall embellished with a custom Johnson Favaro graphic.

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comfortable furniture.” The latter includes sleek back-to-back modular sofas that would look at home in another of the library’s acknowledged architectural influences, Eero Saarinen’s TWA Flight Center.

Despite its thoroughbred looks, the seating meets the demands typical of high-traffic public projects.

“It has to be bomb-proof and cost-effective,” Johnson confirms. “Some city officials worry if something looks too nice. We say this is where it should look nice.” Adds Favaro, “We walk a tightrope between excellence and extravagance.”

The second floor also houses the self-contained teen reading room, featuring digital-device stations and Moroccan-patterned walls. “Freedom to choose where, how, and when you sit is a high priority for them,” notes Lam, who provided all manner of seating options, including Lievore Altherr Molina stools and Piergiorgio Cazzaniga high-back chairs. “Teens see libraries as a place to hang out, like shopping malls in the past,” Johnson says. Hence the room’s name, Escape, but labeled with the keyboard standard ESC, which a city official questioned until her two sons told her it was “dope.” That’s the kind of community engagement any public library would be delighted to reference.

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PROJECT TEAM BRIAN DAVIS; RYAN EKSTROM; JOSEPH MATHIAS: JOHNSON FAVARO. DANIELLE FOX; HEATHER SOLIDAY: RVD ASSOCIATES. LINDA DEMMERS: LIBRARY CONSULTANT. DARKHORSE LIGHTWORKS: LIGHTING CONSUL­ TANT. PH.D: CUSTOM GRAPHICS. OJB LANDSCAPE ARCHITECTURE: LANDSCAPING CONSULTANT. NABIH YOUSSEF ASSOCIATES: STRUC­ TURAL ENGINEER. INTEGRAL GROUP: MEP. KPFF: CIVIL ENGINEER. SMI ARCHITECTURAL MILLWORK: WOODWORK. TOVEY SCHULTZ: GENERAL CONTRACTOR. PROJECT SOURCES FROM FRONT: KAWNEER: CURTAIN WALL (EXTERIOR).

KINGSLEY: BOOK RETURN. DAVIS FURNITURE: MODULAR SOFAS, TABLES (READING ROOM), BENCHES (TEEN ROOM).

MOMENTUM: SOFA UPHOLSTERY (READING ROOM), OTTO­ MAN VINYL (CHILD LIBRARY). HAWORTH: LOUNGE CHAIRS, LOUNGE-CHAIR FABRIC, SIDE CHAIRS, LAPTOP TABLES (READING ROOM). ELP: STEP LIGHTS (STAIRCASE). VIBIA: PENDANT FIXTURES (READING ROOM). BERNHARDT DE­S IGN: LOUNGE CHAIR (CHILD LIBRARY). ULTRAFABRICS: LOUNGE-CHAIR UPHOLSTERY, WALL TEXTILES. TMC: OTTO­ MANS. MAHARAM; JUSTIN DAVID TEXTILES: WALL TEX­ TILES. ABET LAMINATI: WALL PLASTIC LAMINATE. ARMSTRONG CEILING SOLUTIONS: ACOUSTIC CEILING TILE (CHILD LIBRARY, TEEN ROOM). ANDREU WORLD: STOOLS, STOOL FABRIC (TEEN ROOM). WORDEN COMPANY: TABLES. PRUDENTIAL: CEILING FIXTURES. BASELITE: PENDANT FIXTURES. AIMEE WILDER: WALLPAPER. VODE: TABLE LAMPS. PULP STUDIOS: DECORATIVE GLASS. 3M: CUSTOM FILM. THROUGHOUT BENJAMIN MOORE & CO.: PAINT. VITRO ARCHITECTURAL GLASS: STRUCTURAL GLASS WALL. IRIS CERAMICA: EXTERIOR WAINSCOTING, TILE. TATE: WOOD FLOORING. BIRCHWOOD LIGHTING; BK LIGHTING; LUMINII: LIGHTING. ESTY: BOOKSTACKS. PYROK: ACOUSTICAL PLASTER. INTERFACE: CARPET TILE.

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international style Le Square Épicier Fin in Ho Chi Minh City is a Vietnamese-French mash-up of a marketplace by Locatelli Partners text: rebecca dalzell photography: luca rotondo/photofoyer

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Previous spread: A French Colonial villa has been newly painted to house the bakery and the café at Le Square Épicier Fin, a gourmet marketplace in Ho Chi Minh City, Vietnam, by Locatelli Partners.

Top: The villa’s original stone staircase dating to the late 1800’s was preserved.

Center: The brick-and-concrete structure, located in the stylish neighborhood of Thao Dien, previously contained the Swedish Honorary Consulate General. Bottom: A bar in blackened iron anchors the oak-floored café.

Opposite: It also features wrought-iron LED lanterns, leather-upholstered banquettes and chairs, and wallpaper depicting a Paris garden, all custom.

At first glance, the French Colonial buildings in Vietnam appear typically European: ornate balconies, porthole windows, wooden shutters.

Yet further inspection reveals such concessions to the tropical climate as wide eaves and steeply pitched roofs and detailing that references local temples. The architecture is an East-West medley that’s distinctly Vietnamese. It’s also a reminder of the persistent, if subtle, influence of the 70-year French occupation, which is visible everywhere from the thriving café scene to bánh mì sandwiches. This cultural interplay became the guiding principle behind Le Square Épicier Fin, a marketplace in Ho Chi Minh City

by Locatelli Partners.

When Didier Lachize and his wife bought a late 19th– century French Colonial villa in the metropolis, they were determined to save it. Many prewar buildings have been destroyed in recent years, due to lax preservation laws and Vietnam’s booming real estate market, plus this one also came with an adjoining 134

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1-acre lot. A French-Vietna­ mese couple who run a food-import business, the Lachizes imagined opening a gourmet grocery store on the site, one inspired by La Grande Épicerie at the Bon Marché in Paris, and reached out to architect Massimiliano Locatelli to explore how to preserve the 7,530-square-foot villa as well as develop the empty lot.

Based in Milan, Locatelli Partners is best known for hometown projects like Lia Rumma, a contemporary art gallery, and furniture showroom Nilufar Depot. But Locatelli has also been working in Vietnam for the last decade, since Runway, a fashion retailer with boutiques throughout the country, became a client. He’s fascinated with the contrast between the buzzing modern Vietnam and remnants of its French period, and his Runway stores playfully juxtapose that past and present.

In one, for example, plaster legs poke out of the walls of a Colonial building. Locatelli, who had already designed

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“A cultural exchange is always at play in the project’s two buildings”

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an office and two homes for the Lachizes, suggested that their market evoke a similar dialogue between different eras. “I would not copy or enlarge the villa,” Locatelli recalls suggesting. “Let’s build something contemporary next to the Colonial architecture instead.” He and his clients settled on an Lshape industrial-style building to surround the villa, moving and replanting existing palm trees to create an inner garden.

The new building encompasses 30,000 square feet clad in blackened iron and an external steel screen. The three-story, street-facing portion, containing a groundlevel grocery-store with coworking space and a winetasting bar above, is framed in silver-finished mesh. The other end of the L, housing a warm food area, bistro, and takeout stalls, plus kitchens and storage, gets gold.

For the existing villa, Locatelli and his team opened up its interior to house a bakery and a café downstairs and a housewares showroom upstairs.

They then painted its brickand-concrete facade matte black to heighten its contrast with the new building.

A cultural exchange is always at play. Take the café’s verdant wallpaper. It depicts Le Désert de Retz, an 18th-century folly garden near Paris. “It was designed by an aristocratic Frenchman to give people a promenade of different countries,” Locatelli explains of its

Roman temple ruins, Egyptian pyramid, and Chinese house pavilions. “It seemed like a good fit for a French guy who wants Vietnamese people to dream through the food experience.”

Le Désert de Retz appears again on the walls of the gold-and-silver building, but in the form of cracked terracotta tile. Locatelli enlisted artisans in Bat Trang, a traditional ceramics village near

Hanoi, for the ambitious endeavor. “It was a year and a half long project for them,” Left: In the adjacent new building, terrazzo floors the grocery store, where custom cast-acrylic lanterns hang from a steel-mesh ceiling system. Right: LED signage is affixed to a sun-shielding screen of steel rebar mesh.

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he says. They lay slabs of clay on the floor, painted them with images of the garden, then cut them into irregular shapes and fired them, before fitting the pieces back together. “You can see the imperfections of the terra-cotta,” Locatelli says. “They represent the soul of this country, its handwork.”

Locatelli even admires the craftsmanship in Vietnam’s fashion knockoffs. “Pocketbooks look like woven leather from Bottega Veneta,” he says. “It’s exactly the same weaving but done with recycled plastic string.” At Le Square Épicier Fin, Locatelli covered cabinets and refrigerator doors with the same plastic weaving. Similarly, in the grocery store, Vietnamese lanterns are made of semitransparent cast acrylic, rather than the traditional silk or paper. The

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firm had a blown-glass prototype made in Venice, but it was too expensive on a scale of 200. So Locatelli sent the glass lantern to Vietnam to be reproduced in acrylic.

“They’re all handmade in Vietnam,” Locatelli marvels, as was much of the project’s blackened-iron furniture.

The architect admits that local contractors are not always up to Italian standards.

“Sometimes we have to drive them to bring them in the direction we want.” They may not know what terrazzo flooring is, for instance, but once they learn how to make one, they master it. “You have to adjust yourself to the habits of the place, you have to be flexible,” Locatelli says. Here, the result is a cosmopolitan market where cultures and traditions refract off one another in the produce aisles.

PROJECT TEAM DAVIDE AGRATI; JACOPO SOLARI; BEATRICE CHIAPPONI; ALBERTO GER­M ANI; CLARA DONATI: LOCATELLI PARTNERS. VOLTAIRE LIGHTING DE­S IGN: LIGHTING CONSULTANT. LAM HONG ARCHITECTURE DESIGN CO.: STRUCTURAL ENGINEER. XAY DUNG FULL HOUSE: CIVIL ENGINEER. PRODUCT SOURCES THROUGHOUT CONG TY TNHH QUOC TE LEGEND: CUSTOM WALLPAPER. SPIN­ NEYBECK: LEATHER UPHOLSTERY. CEFLA: GROCERY-STORE EQUIPMENT.

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Opposite top: An external steel staircase connects the grocery store with the coworking space upstairs. Opposite bottom: In the housewares showroom on the villa’s second floor, marble tops the demonstration kitchen island and the custom round table.

Top: The new building forms an L around the old villa, with pre-existing palm trees replanted between them. Bottom: Custom iron-framed walnut desks stand on polished concrete flooring in the co-working space, which accommodates 40.

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eye on the future text: winifred bird

A trio of international hotels breathes new life into historic cities

See page 142 for the Okura Tokyo by Taniguchi and Associates. Photography: Jimmy Cohrssen.

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olympic feat firm: taniguchi and associates project: okura tokyo photography: jimmy cohrssen

Left, from top: The lobby of the former Hotel Okura from 1962 has been re-created in the new hotel’s 41-story Prestige Tower. Gardens and other landscaping now occupy half the 5-acre property. Right, from top: Yamazato, which offers a private dining room, is one of the property’s five restaurants.

The Thirty-Six Immortals of Poetry mural was moved from a banquet hall in the old hotel to the lobby of the 17-story Heritage Wing.

Opposite: That lobby’s 40-foot-long chandelier of wisteria, which gets replaced once a week, is backdropped by travertine paneling.

Six years ago, when the management of the Hotel Okura announced plans to demolish and rebuild the iconic 1962 structure in time for the 2020 Tokyo Olympics, domestic and international fans reacted with outrage. The paean to classic Japanese and mid-century modern design—itself built in antici­pation of the 1964 Tokyo Olympics—must be saved, the petitions and editorials begged. But it was to no avail.

Management insisted rooms needed enlarging and facilities updating for today’s tourists (with prices increased to match).

What the preservationists may have helped achieve, however, was an appreciated compromise: Inside one of the two gleaming glass towers that now form the Okura Tokyo, the original hotel’s lobby, recognized as the heart of its hospitality and aesthetic, would be faithfully re-created.

Fittingly, the 12,000-square-foot resurrection was overseen

by Yoshio Taniguchi, son of the lobby’s original architect, the late Yoshiro Taniguchi, and a highly respected architect in his own right (his firm, Taniguchi and Associates, renovated New York’s Museum of Modern Art in 2004). Taniguchi the younger had been involved in lobby repairs over the years and frequently stayed at the hotel himself. He was also responsible for a second lobby at the Okura Tokyo as well as two restaurants and the landscaped setting that links the hotel’s interior to the exterior much more powerfully than before.

Guests now approach the hotel through Okura Square, a stone-paved courtyard wrapped around a large water feature that’s visible from the mezzanine of the main lobby; a hexa­gonal island serves as the focal point linking the buildings with the courtyard. Taniguchi has suggested that this close interiorexterior connection is one difference between his approach to architecture and his father’s. The serene Heritage Wing lobby is also entirely Yoshio Taniguchi’s creation, aside from some salvaged decorative elements, such as a mural relocated from a banquet hall in the old building. The space is designed to resemble a tokonoma, the alcove in Japanese homes where seasonal flower arrangements and art are traditionally displayed—although here in abstract form to avoid feeling gimmicky. The remainder of the $1 billion, 508-key project was a joint venture between six additional firms.

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For the main lobby, Taniguchi set about re-creating his father’s masterpiece—or rather, the illusion of it. He estimates that about 75 percent is actually comprised of new elements. “What we kept of my father’s work were the creative, decorative elements that are so symbolic for people, in order to carry on the memories from that era,” he says. Furniture, light fixtures, and wall coverings, for instance, were all either salvaged or meticulously reproduced. But the new space had to be adapted to current fire and seismic codes, and the reception area needed a complete revamping. According to the hotel’s public relations manager, Kazuko Oguri, most visitors hardly notice those practicalities. “I knew we’d succeeded when I saw a guest stand in the new lobby teary-eyed and say the memories were all coming back,” she says. Nostalgia, it seems, has survived the rebuild unharmed.

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PROJECT TEAM TAISEI CORPORATION DESIGN DIVISION: LANDSCAPING CONSULTANT. TAISEI DESIGN PLANNERS ARCHITECTS & ENGINEERS; KANKO KIKAKU SEKKEISHA; NIHON SEKKEI; P.T. MORIMURA & ASSOCIATES; NTT FACILITIES: CONSULTING ARCHITECTS, DESIGNERS, AND ENGINEERS. PRODUCT SOURCES FROM FRONT ILYA: COUNTER (HERITAGE LOBBY). FUJIDAIRISEKI: FLOORING (HERITAGE LOBBY, STAIR). EPK CORPORATION: CHANDELIER (STAIR). ASAHI BUILDING-WALL CO.: GLASS PARTITION. YAMAGIWA DENKI: HANGING LANTERNS (PRESTIGE LOBBY). TAKASHIMAYA SPACE CREATE CO.: CUSTOM WALL VENEER, CUSTOM TABLES, CUSTOM CHAIRS. PACIFIC HOUSE TEXTILE CO.: TEXTILE CROSS.

In the Prestige Tower lobby, the mid-century furniture and lighting were either restored or reproduced, including lacquer tables and upholstered chairs patterned on plum blossoms, lanterns inspired by ancient ornamental beads, and the silk Four Petal Flowers tapestry, designed in the 1960’s by Kenkichi Tomimoto.

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“Taniguchi set about re-creating his father’s masterpiece”

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posh in poland firm: desallesflint project: puro warsaw photography: anna stathaki

It began with what Regis de Salles, creative director at the English firm DeSallesFlint, bluntly terms “a design nightmare”: 14 structural columns, each measuring nearly 5 feet across, running the length of a not-so-spacious ground floor of an eight-story new-build by JEMS Architekci. The project in ques­tion was a hotel in central Warsaw for the rapidly expanding Polish brand Puro, its art-packed portfolio of properties catering to a young, cosmopolitan crowd. De Salles and his life and professional partner Simon Flint had already completed three

Top: A guest room’s custom headboard is covered in a wool textile by Åsa Pärson. Center: A GamFratesi sofa and side tables by Mia Hamborg furnish the penthouse bar. Bottom: GamFratesi also designed a suite’s dining chairs; photography: Pion Studio.

Opposite: Local illustrator Michel Loba’s metal installation hangs in the bar.

other projects for the brand. Their brief for the Puro Warsaw was to convey the Polish capital’s “historic legacy, modern spirit, and creative energy”—but the columns were posing a literal and figurative barrier. “We tried to say, Can you reduce them, can you take them out? But all we got was ‘no, no,’” re­calls Flint, practice director at the firm, which focuses primarily on hotel interiors. “Now they’re the defining element.”

Instead of hanging the columns with art (“too contrived,” de Salles declares), the pair commissioned a set of bold canvas coverings printed with old maps of Warsaw and botanical drawings, illuminated by lamps attached to black metal frames. The spiffed-up columns tie together the long, shallow space, which contains the lobby and an Italian restaurant, anchoring a look that reflects DeSallesFlint’s taste for the eclectic as well as Puro’s luxe, informal aesthetic. “We always want the lobbies to feel like you’ve just arrived at your best friend’s home,” de Salles says—that is, assuming your best friend has great taste and an amazing art collection.

From the start, Puro has invested in Polish artists, building a unique collection at each of its seven properties. “They’ve become part of the cultural scene in Poland,” Flint says. The company now has its own in-house curator, Zuzanna Zakaryan, with whom the designers work to ensure the art fits their 146

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“We always want the lobbies to feel like you’ve arrived at your best friend’s home” overarching narrative. For this project, Zakaryan commissioned pieces by local illustrators Tymek Jezierski and Michał Loba for the 146 guest rooms and suites. Jezierski’s sketches depict famous visitors to Warsaw (David Bowie, Pablo Picasso), while Loba’s sparse line drawings of female forms and metal works were inspired by iconic city sites; both reflect de Salles and Flint’s objective of wanting guests “to know they’re in Poland but not for the hotel to be themed.”

Drawings aside, the guest rooms are a tranquil, understated counterpoint to the ground-floor lobby and the bar on the hotel’s top floor. A subdued palette including textured linen wall coverings framed in brushed oak, and simple bespoke furnishings by the designers complete what Flint calls an “apartmentlike” mood. From there, he and de Salles hope, guests will explore the cultural gems of Warsaw—or just of their own hotel.

PROJECT TEAM HAYLIE GOLDING; LISA PEARSON; CHARLIE LOVELL; VINOD AMEYA: DESALLESFLINT. INTO LIGHTING: LIGHTING CONSULTANT. HOTEL INWEST: WOODWORK. PRODUCT SOURCES FROM FRONT MAXWELLRODGERS FABRICS: THROW (GUEST ROOM). GOLRAN: CUSTOM RUG. FREDERICIA: SOFA (BAR). &TRADITION: SIDE TABLES. ALTFIELD: OTTOMAN UPHOLSTERY. GUBI: CHAIRS (BAR), CHAIRS (SUITE). ELITIS: WALL COVERING (SUITE). METAPHORES: OTTOMAN FABRIC (BAR). BAXTER: SOFA (LOBBY).

CARL HANSEN & SØN: CHAIRS. LORENZA BOZZOLI: OTTOMAN.

The lobby includes a Vincenzo De Cotiis sofa, Eoos chairs, and canvas wall coverings custom printed with vintage maps of Warsaw.

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If buildings can be said to have lives, then the structure that today houses the Exmo Hotel has, until recently, led an utterly ordinary one. Over the past six or so centuries in Porto, Portugal, it has been a house, a bank, an insurance firm, a warehouse, and a dispatcher’s office—a bourgeois resume reflective of the city’s own history as a center of trade and shipping. “The story of this building is simple, with neither exceptional characters nor exceptional architecture,” says Floret Architecture’s Adriana Floret, who led the building’s recent transformation into a four-star boutique hotel, along with interior design firm Lost and Found Home Design Porto’s mother-daughter duo Linda Vaughan and Nikki Faria. “What matters is the accumulation of life stories and architectural interventions over the cen­turies,” Floret continues. “Its monumentality results from the sum of small things.”

Floret’s task, as she saw it, was to reveal those layers of history and add one of her own, with as light a touch as possible. “We aspire to invisibility,” the architect says.

The idea is to make any additions reversible so that future generations can give the building a new identity if they so choose. That philosophy is part personal, part institutional: Because central Porto has been designated a UNESCO World

time swirl firms: floret arquitectura; lost & found home design porto project: exmo hotel, porto, portugal photography: ivo tavares

Left, from top: A guest room’s iron furnishings are custom. Showers are lined in micro-cement. The medieval window seat in a guest room was ori­ ginally intended as a place for young ladies to see and be seen by passers­by on the street. Right: An arched window overlooking the hotel’s bar also dates to the 14th century.

Opposite: The spiral staircase by architects José Carlos Loureiro and Louís Padua Ramos dates to the 1970’s, when the structure was a bank.

Heritage site, changing the exterior of buildings like this one is difficult, and even interior renovations are closely monitored. This 12,000-square-foot project, however, presented a unique challenge. Although the medieval masonry structure and neoclassical facade dating between 1780 and 1820 remained intact, the old interior wooden structure had been lost in a 1970’s hatchet job. Floret kept the concrete slabs from that renovation, along with a beautiful modernist spiral staircase by architects José Carlos Loureiro and Louís Padua Ramos, but otherwise started fresh inside. “Our strategy was to eliminate some of the excesses of the 20th century, allowing for a better reading of the marks of each era,” she says.

Those marks offer fascinating glimpses into the city’s past.

One guest room, for instance, features a 14th-century window seat called a namoradeira in Portuguese, from the verb namorar, which means to court or flirt; it was intended as a place for 150

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young ladies of the house to see and be seen by male passersby on the street below. “Creating a sense of place is of paramount importance for us,” Vaughan adds.

An even more exciting discovery for Floret were the marks engraved by masons on stones in the original six-story structure. They identified which stones had been hewn or placed by which worker, allowing them to charge accurately for their work. Many of the marked stones likely came from even older structures, such as defensive walls encircling the city, since the reuse of building materials was common in that era. “They are the traces of more than 500 years of anonymous workers. This is the kind of thing that moves me,” Floret notes. Her renovation gives hotel guests the chance to share that awe at the extraordinary weight of ordinary history.

PROJECT TEAM DAVID AFONSO; MARTA MORAES; ANA CARMO; MARIA D’OREY: FLORET ARQUITECTURA. SYNAPSE: LIGHTING CONSULTANT. TECHONIS GLOBAL CONSULTING SERVICES: STRUCTURAL ENGINEER. MEP, CIVIL ENGINEER: A400-PROJECTISTAS E CONSULTORES DE ENGENHARIA. LÚCIOS ENGENHARIA E CONSTRUÇÃO: GENERAL CONTRACTOR. PROJECT SOURCES FROM FRONT THROUGH J. PINTO LEITÃO: OAK FLOORING (GUEST ROOMS).

AROMAS DEL CAMPO: SCONCES. PADIMATE: SHOWER FITTINGS. THROUGHOUT LUCIOS CONSTRUTORA: CUSTOM IRON FURNITURE.

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“Its monumentality results from the sum of small things” The concrete staircase is surrounded by granite blocks.

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THIS

Fo rti n A ISN’T

is a remarkable architectural

system that will fool your senses: replicating wood slats and louvers with aluminum and a

©2020 B&N Industries, Inc.

hyper-realistic surface in a multitude of wood species and metal finishes. Available for both interior and exterior applications.

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André Fu: Crossing Cultures with Design

by Catherine Shaw New York: Thames & Hudson, $80 272 pages, 184 illustrations (175 color)

After education in England, including two degrees in architecture from Cambridge, André Fu returned to his native Hong Kong and opened his design studio AFSO in 2001. Here are 18 of his recent designs, ranging from one-night-only pop-up environments for fashion houses COS and Louis Vuitton to luxury hotels (including the St. Regis Hong Kong and the Villa La Coste in Provence), a New York apartment in Jean Nouvel’s 53West53 tower, and—the most serene of all—his own home in Southside Hong Kong.

He can, and often does, do everything it seems, including furniture, carpets, tableware, and even hotel staff uniforms. There are skillful displays of grilles, screens, and textured panels in lacquer, marble, “I find the juxtaposition glass tiles, bamboo, laser-cut bronze, of classic and modern and, in one case, hand stitching by quite intriguing” a modern kimono artisan.

What Fu calls “cultural filtering” is apparent everywhere. Most obviously the projects’ locales are acknowledged, but author Catherine Shaw also mentions in her introduction Fu’s admiration for Italian architects Carlo Scarpa and Gio Ponti, the sculpture of Constantin Brâncus,i, and a recent visit to the Czech Republic. And in some of Fu’s chairs there may be a respectful nod to Scandinavia. Whatever their sources, they all mesh elegantly in Fu’s talented hands.

What They’re Reading...

Jane Smith Partner at Spacesmith

800.350.4127

Fortina

edited by Stanley Abercrombie

FORTINA.BNIND.COM

L O U V E R S A N D S L AT S

WOOD

BOOKs

The Overstory

by Richard Powers New York: W.W. Norton & Company, $19 502 pages 154

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Atlas of Furniture Design

by Mateo Kries and Jochen Eisenbrand Weil am Rhein, Germany: Vitra Design Museum, $250 1,028 pages, 2,852 images (2,100 color)

This ambitious and accomplished undertaking is based on the collection of the Vitra Design Museum, its 20,000 furnishings and objects housed in buildings by Frank Gehry and Herzog & de Meuron (in a wonderland campus with buildings also by Tadao Ando, Renzo Piano, Zaha Hadid, and SANAA). The book and, before that, the museum and the campus, are due to the vision of Vitra president Rolf Fehlbaum. Authors Mateo Kries and Jochen Eisenbrand are one of its directors and curator, respectively.

They present a chronological parade of 1,740 objects that take us from 1780 to 2017, broken into four periods, each with an introductory essay, a timeline on double foldouts, and various elaborations, such as a spread of 43 iterations of cantilever chairs and a similar spread of single-piece plywood chairs. The big stars get big attention, however, with full-page color photos, and a project that could have been buried in minutiae has been “The book aims to be designed to be full of both information nothing less than a new base for future research” and visual delights and surprises.

Back-of-the-book matter includes 13 pages of materials and production techniques, 28 pages of manufacturers’ histories, brief biographies of 71 writers and editors, and 70 pages of designer biographies. There are, of course, an extensive bibliography and an index.

It is, understandably, an expensive book, but perhaps it should be thought of not as a book but a library, not a classroom but a university, not a course but a doctorate. It is a monumental undertaking, splendidly accomplished.

S M A R T D E S IGN .

EXEMPLARY CRAFTSMANSHIP. Newport Brass is the recognized brand for quality constructed bathroom and kitchen products. Carrying the distinction of flawless beauty and extended durability, our products are available in a full range of finishes and contemporary, transitional and traditional styles.

..

“It’s a sweeping novel that adjusts your frame of reference about trees as well as activism. It pays homage to not just biological complexity and environmental benefits but also the stats and argument that give urgency to our action—all through a cast of wonderful characters over literally hundreds of years.

Our design work has always reflected sustainability, human health and wellness, and the importance of choosing solutions and materials wisely. This book helps, in a way, so designers can make even better choices by giving us a more global perspective on nature and our intertwined history.

We’ve just finished the headquarters for MarketAxess in Hudson Yards, and it reflects the company’s ultra-modern technology capabilities, as well as an open and relaxed feel with a contemporary aesthetic. Yet at the center is a metaphorical tree: a three-storytall wood and light wall sculpture along the floating staircase that connects each floor at reception. Like a massive redwood trunk, this signature feature impresses visitors as a central landmark, demonstrating a sense of the workplace’s ample volume, while also unifying employees across all floors.”

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c o n ta c t s DESIGNERS IN SPECIAL FEATURE DeSallesFlint (“Eye on the Future,” page 140), desallesflint.com.

Luca Rotondo (“International Style,” page 132), Photofoyer, photofoyer.it.

Floret Arquitectura (“Eye on the Future,” page 140), floret.pt.

Lost and Found Home Design Porto (“Eye on the Future,” page 140), lostfoundporto.com.

PHOTOGRAPHERS IN SPECIAL FEATURE Jimmy Cohrssen Photography (“Eye on the Future,” page 140), jimmycohrssen.com.

Pion Studio (“Eye on the Future,” page 140), pionstudio.com.

Anna Stathaki (“Eye on the Future,” page 140), annastathaki.com.

Eric Staudenmaier (“The Latest Chapter,” page 100), ericstaudenmaier.com.

DESIGNER IN WALK-THROUGH Kinzo (“By the Book,” page 37), kinzo-berlin.de.

PHOTOGRAPHER IN WALK-THROUGH Sebastian Dörken (“By the Book,” page 37), sbdsgn.de.

DESIGNER IN CROSSLINES Ste. Marie (“Leading Man,” page 51), stemarieartdesign.com.

Ivo Tavares Studio (“Eye on the Future,” page 140), ivotavares.net.

DESIGNER IN CENTERFOLD PHOTOGRAPHERS IN FEATURES Shao Feng (“Creature Comforts,” page 116), sfap.com.cn.

Eric Laignel Photography (“Reading California,” page 124), ericlaignel.com.

Mikhail Loskutov (“Taking Flight,” page 108), mloskutov.squarespace.com.

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Ryusuke Nanki (“Sweet Sensation,” page 95), cargocollective.com/ryusukenanki.

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.

MARCH.20

Aura | A Modern Classic

Introducing the Aura lounge chair – a modern twist on a classic design. All around comfort with 360º rotation.

Only from Beaufurn.

info@beaufurn.com | beaufurn.com | 888.766.7706

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designannex

QM Drain

Enduratex

Supreme revolutionizes the installation of linear drains when the pipe is off-center.

An independent base eliminates the need to relocate existing pipes. Supreme appears centered regardless of existing drainpipe location. Available in various lengths and finishes. Modern, impeccable, supreme. t. 954.773.9450 e. info@qm-us.com qmdrain.com

The newest coated fabric collection from Enduratex, PACIFIC GROVE, washes ashore fortified with Enduratex’ proprietary topcoat, FORBID. With sounds and images of the California coastline guiding the color names, PACIFIC GROVE will make you believe you’re hearing the surf. t. 800.243.2472 enduratex.com

Edition Modern

Whiting & Davis Metal Mesh Fabrics

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

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

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

MOCKETT Edge Mount Power Dock

Infinity Drain

PCS98B - Mockett’s unique blend of convenient power solutions put charging options within reach on any surface. Easily clamps onto any desk to keep you connected with two power outlets and two charging USB inputs. Available in Black, White, or Grey. t. 800.523.1269 mockett.com

Infinity Drain’s Site Sizable Low Profile Linear Drain further simplifies the shower installation process with a lower profile that minimizes the floor height needed to achieve a curbless entry. It can also be conveniently sized on location. Fabricated in the USA. t. 516.767.6786 infinitydrain.com

MARCH.20 INTERIOR DESIGN

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Queens May 14

Staten Island May 16

Brooklyn May 17

Manhattan May 18

The Bronx May 20

Visit nycxdesign.com to learn more about The Festival’s Borough Days Sponsored by

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The Boroughs

Capturing New York City’s design story, borough-by-borough.

Operated by

2/12/20 3:32 PM

When the first stone arch bridges rose in ancient Rome, they were looked at with disbelief, their perceived supernatural power even attributed to being a product of the devil. Modern times obviously debunked such ideas, but for a pedestrian footbridge just outside of Prague, architect Ondřej Císler and engineer Petr Tej channeled that otherworldly energy.

The 32-foot-long structure runs above the Dřetovice stream, connecting the village of Vrapice to its cemetery. The graveyard is reachable by walking trails, but they’re now often flooded by the stream’s rising water. The City of Kladno reached out to Aoc.archi founder Císler, who teaches at Czech Technical University with Tej, to design it.

Conceiving the project as a gateway between the living and the dead—“like a numinous object from 2001: A Space Odyssey,” Císler says—the resulting bridge is a minimalist form of fiber-reinforced ultra-high performance concrete, a relatively new and technologically advanced version of the material that’s exceptionally strong, enabling it to be used sparingly. The built bridge is just 3 1⁄2 tons, rather weightless for a structure that long, with such mass. “Despite the notion that something made of concrete would be heavy, we hardly could have made this lighter,” Tej adds. He and Císler pigmented the concrete dark gray, helping the bridge blend into its natural surroundings—and imbuing it with a spiritual gravity.

—Wilson Barlow

crossing over

I N T ER vention

BOYSPLAYNICE

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conference a design-driven conference focused on breakthrough ideas, cutting-edge technology, and hands-on experiences

may 13,2020 the caldwell factory / new york, ny featuring james gregson Director/Head of Social Studio LEGO

noah waxman

lucas werthein

Head of Strategy Cactus

Head of Technology and Production Cactus

atish gonsalves Global Learning Director Humanitarian Leadership Academy

Tickets: interiordesign.net/innovation2020

in partnership with

join us at

featured at NYCxDESIGN:The Festival

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