Interior Design December 2017

DECEMBER 2017

B E STofyear

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RESIDENTIAL | CONTRACT

“Good design is not only about beautiful shapes. It always has to be clever in the solution of functional questions.”

© 2017 Design Within Reach, Inc.

– J ES ÚS GAS C A

© 2017 Design Within Reach, Inc.

Jesœs Gasca Designer of the Globus Chair www.dwr.com

NEIGHBORHOOD JOE GEBBIA, AIRBNB CO-FOUNDER

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ON THE COVER

One Plus Partnership Limited’s system of tubes, coated in coppery fluorocarbon, forms seating at the Shanghai Omnijoi International Cinema, winner of the Best of Year Award, Entertainment. Photography: Jonathan Leijonhufvud.

best of year

CONTENTS DECEMBER 2017

VOLUME 88 NUMBER 16

26 EXHIBITION 28 INSTALLATION 30 TRADE SHOW BOOTH

80 U.S. BOUTIQUE HOTEL

32 BEAUTY/SPA

82 FOREIGN

BOUTIQUE HOTEL

36 FITNESS

84 HOTEL 38 ENVIRONMENTAL TRANSFORMATION BRANDING/ 88 HOTEL DINING GRAPHICS 40 COLLATERAL BRANDING/ GRAPHICS

90 BAR/LOUNGE 92 CASUAL DINING

42 BUDGET

94 RETAIL/MUSEUM DINING

44 HIGHER EDUCATION

96 FINE DINING

46 LARGE PRIMARY/

SECONDARY EDUCATION 48 SMALL PRIMARY EDUCATION 50 GREEN 52 ENTERTAINMENT 54 CIVIC 58 CIVIC 2 60 MUSEUM/GALLERY 62 LIBRARY 66 NONPROFIT 68 OUTDOOR 70 HEALTH CARE 72 HEALTH/WELLNESS

98 ASIAN DINING 100 COFFEE/TEA 102 COUNTER SERVICE 106 EXTRA-LARGE OFFICE 108 LARGE CREATIVE/

TECH OFFICE 110 LARGE CORPORATE OFFICE 112 LARGE CONSUMER-

GOODS OFFICE 114 LARGE LAW OFFICE 116 MIDSIZE TECH OFFICE 118 MIDSIZE CORPORATE OFFICE

74 RESORT

120 MIDSIZE CREATIVE OFFICE

76 LARGE CHAIN HOTEL

122 SMALL OFFICE

78 SMALL CHAIN HOTEL ZHANG JING idx171201_toc02.indd 7

124 EXTRA-SMALL OFFICE 126 FIRM’S OWN OFFICE 128 COWORKING SPACE 130 OFFICE ADAPTIVE REUSE

98

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diamond chair, 1952 by harry bertoia - womb chair, 1948 by eero saarinen - made in the usa by knoll

please inquire about our A&D trade program

knoll herman miller carl hansen vitra fritz hansen kartell bensen os artek artifort foscarini moooi montis and more!

12 CONTENTS DECEMBER 2017

best of year

VOLUME 88 NUMBER 16

132 COMMERCIAL LOBBY 134 APARTMENT LOBBY/ AMENITY 136 LUXURY CONDOMINIUM 138 RENTAL

APARTMENT BUILDING 140 L ARGE APARTMENT 142 SMALL APARTMENT 144 MODEL APARTMENT 148 BEACH HOUSE 150 SUBURBAN HOUSE

hall of fame supplement S10 HALL OF FAME MEMBERS S14 2017 PLANNING COMMITTEE S16 I.M. PEI

by Paul Goldberger 100 REASONS TO CELEBRATE

The Hall of Fame gala has moved to the Javits Center, the perfect venue to toast I.M. Pei’s birthday.

S24 ROBIN KLEHR AVIA

by Edie Cohen

152 CITY HOUSE

S34 PETER Q. BOHLIN

by Laura Fisher Kaiser

154 HOUSE TRANSFORMATION

S46 M ARK ZEFF

by Jane Margolies

156 KITCHEN/BATH

S54 L IDEWIJ EDELKOORT

by Jen Renzi

158 LARGE RETAIL 160 SMALL RETAIL 162 MIXED RETAIL

departments 283 P.S.

164 HEALTH/BEAUTY RETAIL 166 BOOKSTORE 168 SALES CENTER 170 SHOWROOM 172 ON THE BOARDS: MIXED 174 ON THE BOARDS: RESIDENTIAL 176 PIÈCE DE RÉSISTANCE 179 PRODUCTS

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Interior Design (USPS#520-210, ISSN 0020-5508) is published 16 times a year, monthly except semimonthly in April, May, September, 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 subscriptions@interiordesign.net. POSTMASTER: Send address changes to: INTERIOR DESIGN, P.O. Box 16479, North Hollywood, CA 91615-6479. Publications Mail Agreement No. 40624074.

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editor in chief chief content officer

Cindy Allen, hon. IIDA

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Michael Shavalier

Metal designs and laminates from Chemetal bring energy to design spaces of any size. Here: reflective 943 Dome. Visit to see them all.

chemetal.com

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SANDOW, publisher of NewBeauty®, Worth®, Luxe Interiors + Design™, and Interior Design®, is a leader in building multi-platform brands that inform, inspire, and engage highly coveted consumer and business audiences. Meeting at the intersection of luxury and design, the SANDOW brands—all powered by innovation—span digital and print media, licensing, consulting, e-commerce and retail, business information and marketing services.

Learn more at sandow.com.

12/13/17 5:06 PM

Š 2017 Lutron Electronics Co., Inc.

understated elegance Palladiom keypad in Satin Nickel Available for Quantum systems lutron.com/palladiom

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The Foundation Collection

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All Designs & Images ©2016 – 2018 Hubbardton Forge, LLC. All Rights Reserved. Synchronicity is the registered trademark of Hubbardton Forge, LLC.

SYNCHRONICITYLIGHTING.COM | VT, USA | DESIGN@SYNCHRONICITYLIGHTING.COM | 866.398.1530

HENDRIX SCONCE — PREMIERING JANUARY 17, 2018

e d i t o r ’ s welcome

best of the best

Drum roll, please! After weeks and weeks of meticulous preparation, an extraordinary 2,264 submissions from a veritable maelstrom of architects, designers, creative teams, and manufacturers from 58 countries scattered around the globe, plus the subsequent grueling hours and hours of judging, followed by an incredible but never­ theless labor-intensive awards soiree, here, as promised, is tangible, living, and breathing proof of all that hard work and total dedication to the very best that design offers. . .our December issue presenting the Best of Year Awards. (That was a mouthful!) To those savvy about planning and then successfully executing events and competition thingies, all this should read like a night­ mare. But you know what? Not really, no, not at all.

Where design is the thing, too much is never enough.

Bring it on. A super-congrats to the sterling winners.

Check them out on the following pages as well as on my Instagram, not to mention the outstanding honorees on interiordesign.net. You continue to inspire all of us.

Go forth. . .and design. Happy Holidays, everyone!!!

Follow me on Instagram

thecindygram

DEC.17

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INTERIOR DESIGN

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MY DESIGN FIX #mydesignďŹ x

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Find the intersection of inspiration and dedication

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SCAD PHOTOGRAPHY

SCAD PHOTOGRAPHY

“Visitors were invited to immerse themselves in colors”

b e stofyear

exhibition

savannah college of art and design

—Mark McMenamin PROJECT TEAM: JAKE EHRLUND; RAUL GONZALEZ; EDUARDO ALFARO.

SCAD PHOTOGRAPHY

SCAD PHOTOGRAPHY

“Chroma,” Georgia

What’s college without a crash course? SCAD’s head curator of exhibitions, Storm Janse van Rensburg, says he aimed to acquaint art, architecture, and design undergraduate students with “a concise and distilled form” of the crash course via a show at the SCAD Museum of Art, focusing on Carlos Cruz-Diez.

This 94-year-old Venezuelan artist has established himself, through seven decades of research and experimentation, as a key color theorist of the 20th and 21st centuries.

Janse van Rensburg partnered with alumna Raquel Serebrenik Sultan, now an independent curator, to organize the indooroutdoor show, which encapsulated Cruz-Diez’s philosophies and techniques. A gallery presented new works that encouraged visitor interaction—alongside explanatory materials and biographical videos. Next to the museum building, a shipping container’s exterior hosted a relief work that gradually changed colors as viewers walked by. The container’s interior was divided into the three chambers that constituted Chromosaturation, inviting visitors to immerse themselves in colors while moving from one space to the next. Paved walkways across the lawn were painted to create Induction Chromatique.

Conceived as a traveling exhibition, it popped up again at the art fair Untitled, Miami Beach. More stops are expected.

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5468796 architecture and factor eficiencia One Bucket at a Time, Mexico City Some call it extortion, others thievery. However you label it, blocking parking spaces with concrete barriers, planters, or empty buckets to extract fees from drivers is commonplace here. Referencing the hijacked spots, this temporary installation invited passersby to interact with it during Mextrópoli, the city’s four-day architecture festival.

After collaborating remotely, 5468796 Architecture founders Sasa Radulovic and Johanna Hurme and architect Pablo Batista flew down from Winnipeg, Manitoba, to work on-site with the local firm Factor Eficiencia’s principals, Gerardo Salinas and Fermín Espinosa. Taking 2,500 gray plastic 5-gallon paint buckets and tying them together with yellow nylon rope was a process that required five days to complete. It resulted in a wavelike curve that thousands of visitors climbed, played, and lounged on. Additional buckets, left freestanding, functioned as perches for impromptu conversations.

Demonstrating how public space can be reclaimed, the installation celebrated the power of design to inspire. “It was beautiful to see how architecture engages people,” Radulovic says.

“The value was beyond that of the purely sculptural qualities.” Nevertheless, those qualities were noteworthy. Now that Mextrópoli has ended, the online conversation continues about the installation, as eye candy for Instagram. —Athena Waligore 5468796 ARCHITECTURE: APOLLINAIRE AU; KEN BORTON; JORDY CRADDOCK; BEN GREENWOOD; CAROLINE INGLIS; ANDRIY IVANYTSKYY; JEFF KACHKAN; EVA KISS; STAS KLAZ; LINDSEY KOEPKE; KELSEY MC MAHON; COLIN NEUFELD; SIMONE PRILL; HUGH TAYLOR; TRENT THOMPSON; MATTHEW TRENDOTA; SHANNON WIEBE; JENN YABLONOWSKI. FACTOR EFICIENCIA: JAIME SOL; ALBERTO SALVADOR.

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JAIME NAVARRO

installation

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BuzziPleat – by 13&9 Design A series of architectural solutions

The BuzziPleat delivers sound control with an architectural edge. This series reinterprets ancient techniques used in fashion design, like smocking and pleating, to create large-scale, yet lightweight sculptural forms, made of sound-absorbing BuzziFelt. The hanging acoustic pendants can be configured with or without a light source, to marry sound control and illumination in one multipurpose product.

www.buzzi.space

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trade show booth

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GOLDENCOURTESY OF PONE ARCHITECTURE

COURTESY OF PONE ARCHITECTURE

“The contrasting colors produced an elastic rhythm”

pone architecture

GOLDENCOURTESY OF PONE ARCHITECTURE

COURTESY OF PONE ARCHITECTURE

Nest Aspiration Experience Pavilion, Here’s what can happen when machine-made meets handmade. To create the Guangzhou, China 1,200-square-foot installation for Guangzhou Design Week, along the country’s

southern coast, the firm formed 59,000 black and 89,000 white tubes, and then inserted them in the tiny holes peppering four tall, curving partitions.

“The contrasting colors produced an elastic rhythm,” one of the firm’s CEOs, Golden Ho, recalls. The towering, tightly spaced stainless-steel arcs may have suggested a Richard Serra sculpture. But their rolled stuffing—sheets of thin black cardboard and white waxed paper, like that used for baking—softened the structures physically and, adds Ho, acoustically: “When engaged by visitors, the materials issued a crisp sound, as if being touched by numerous pairs of little hands, which encouraged interaction from even more people.”

Interaction was, in fact, the key to the installation’s success. As visitors walked between the arcs, they could push and pull on the tubes to leave their mark, as if playing with a pin-impression toy on a massive scale. While the pavilion’s perfectly balanced, rigid wall frames were engineered to exacting forms, its myriad rolls carried beauty in their inconsistency. —Clare Jacobson PROJECT TEAM: MING LEUNG; JIALI LIU; YUELIU HUA.

DEC.17

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jouin manku Spa des Saules, Illhaeusern, France

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PROJECT TEAM: YANN BROSSIER; DAPHNA GLAUBERT; MICKAËL GOURET; HENRY GAGNAIRE.

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NICOLAS MATHÉUS

Take the form of an old timber barn traditional in Alsace. Add a trace of the region’s ancient Roman baths, a soupçon of American Shaker style, an aura of Zen, the savoir faire of local artisans, some hightech spice, and tons of contemporary zest. Mix well. That’s the design recipe concocted by Interior Design Hall of Fame member Patrick Jouin and his partner, Sanjit Manku, for the Hôtel des Berges’s annex, housing a spa on the ground level.

Jouin and Manku have renovated the familyowned hotel’s Michelin-starred restaurant twice, so client-designer trust is well established. “With the spa, the family had a really profound desire to do more for their guests, to give them serenity and calm,” Jouin says. The design, Manku adds, needed to be both “sensory and spiritual.”

Materials for the 10,500 square feet are pared down to the essentials: wood, stone, concrete.

Pouring the concrete was the biggest challenge.

“It leaves no margin for error,” Jouin notes. “You cannot correct a mistake.” On some concrete wall panels, a willow-leaf motif pays tribute to the weeping willows that gave the spa its name.

A sauna, a steam bath, and two plunge pools supplement the four rooms for treatments. One option is a willow-bark oil massage. —Judy Fayard

NICOLAS MATHÉUS

beauty/spa

NICOLAS MATHÉUS

NICOLAS MATHÉUS

“The design needed to be both ‘sensory and spiritual’”

DEC.17

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The NKBA = KBIS 365.

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virtually any combination of weight-bearing applications.

B N I N D. C O M

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panorama Physical, Shanghai Olivia Newton-John’s pop anthem “Physical” from 1981 filled founder Horace Pan’s head as he brainstormed the rebranding of a gym of the same name, and the result, the first mainland Chinese outpost of a Hong Kong chain, is definitely dance-party ready. This was also the firm’s first gym project, so Pan spent hours researching ways to

elevate the experience. “If you can exercise at home,” he asked himself, “why even go to the gym?” It has to offer something different. Thus began his idea for a formfollows-function “gym-scape,” where bold design would inspire peak performance.

The high ceiling of the 21,500-square-foot space meant that he could wrap it in folding, faceted drywall, spray-painted charcoal gray, without compromising the openness.

These dark swaths set off sharp-lined fluorescent ceiling fixtures. In the center of the floor, angled planes of red-tinted glass enclose the Spinning room.

“The dynamic lines invite people to move,” he explains.

Equally energizing is the blue and yellow light projected onto the walls and ceiling. The light show pulsates to a rhythmic beat: the recorded BPM of one of the gym’s personal trainers. —Georgina McWhirter

NG SIU FUNG

PROJECT TEAM: VIVIAN CHAN; WING CHAN; KAMEN TSANG.

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1 Inch by Jasper Morrison Less weight. Less waste. Made in America from reclaimed materials.

emeco.net

effort less

—Craig Kellogg CADENA + ASOC. CONCEPT DESIGN: BERENICE HERNÁNDEZ; LUIS MEDELLÍN; RICARDO BIDEAU; ALEJANDRO PEÑA; ALBERTO YAPOR; ALEJANDRO FLORES; HUGO OZUNA. ESRAWE STUDIO: MANUEL BAÑÓ; DAVID FLORES; SOLANA LORENZO.

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JAIME NAVARRO

Xinú, Mexico City

JAIME NAVARRO

cadena + asoc. concept design and esrawe studio

In his teens, budding architect Ignacio Cadena handled the branding for firms run by his father’s friends. The younger Cadena later founded his own creative agency, producing retail concepts and branding for such fashion labels as Calvin Klein and Tommy Hilfiger. When he launched a luxury fragrance line with his frequent collaborator, Héctor Esrawe, and another partner, Verónica Peña, they named it after an indigenous word for nose. (That’s pronounced “she-new.”)

“It’s like our son, because it needs a lot of care,” Cadena says, laughing. To hold each of the four unisex scents, formulated using New World botanicals, he designed a gorgeous clear glass vessel set on top of a totemlike stack of half-spheres in a sustainably sourced local hardwood. He hopes that customers will reuse the empty vessels, perhaps as bud vases.

He calls the brand’s flagship a secret garden, since shoppers must buzz a downstairs doorbell, then climb a darkened staircase to visit the sun-splashed top level. Overlooking a roof terrace fragrant with plants, the 1,700-square-foot shop was also designed with Esrawe. Cadena himself curates and arranges the huge display table that Esrawe refers to as “naturalist.” It’s a singular combination of evolving inspirations, from illustrated books to glass blobs and fresh flower spikes.

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environmental branding/graphics

JAIME NAVARRO

JAIME NAVARRO

“Ignacio Cadena calls the brand’s flagship a secret garden”

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glasfurd & walker Botanist, Vancouver, British Columbia Edible potted plants are grown at this restaurant at the Fairmont Pacific Rim hotel.

But that’s not the only nod to the botanical theme. It started with the graphics even before the first meal was served. Phoebe Glasfurd developed a dreamlike promotional photo of a mushroom rye cocktail emerging from a “terrarium”—in truth, a glass lantern sitting on green moss, next to a bonsai tree. Glasfurd used that image on the construction barricade erected during the gut renovation of the restaurant as well as on its website post-launch.

Because the restaurant is hidden away on the hotel’s second level, Glasfurd says that she played up that “difficult” location with the branding and collateral material’s “M.C. Escher–esque” staircase motif. Mounted in brass on a window at the entrance, the stair suggests an ascent to a more perfect realm. She adapted the idea for a die-cut paper pop-up stair sculpture versatile enough to function as an invitation to the opening night and subsequently as packaging for gift cards. Meanwhile, the dining room, the main bar, and the champagne bar all demanded separate menus, which feature bits of poetry inside faux-leather covers debossed with luxe brassfoil accents. “Each touch point celebrates whimsical imagination intersecting with detail and precision,” she explains. That’s a combination in keeping with botany’s unique blend of science and art. —Craig Kellogg

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INTERIOR DESIGN

IAN LANTERMAN

PROJECT TEAM: NICHOLAS HAWKER; CORINNE THEODORE; TIGH SARLEY.

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budget

cao pu studio Together Hostel, Beijing Going camping in the middle of a city of 21 million would seem an oxymoron.

Yet architect Cao Pu gives hospitality a new twist with a hostel that he describes as “indoor camping for youth.” The location is equally unusual, two levels rented from a conventional hotel. While one level still has rooms, the other is the so-called campground. Cao conceived the 7,200 square feet as an open space where people can hang out, watch movies, and cook together as well as staying overnight. “The concept of a music festival was mentioned during the design process,” he continues. He’s referring specifically to Woodstock, although 1969 is ancient history to this crowd.

Major demolition made way for the single-occupancy and double “tents.”

Actually more like cabins, the structures are framed in wood, with walls and roofs in translucent polycarbonate, and arrayed in groups. Each group shares electrical sockets and extension cords, and each tent has its own reading lights. Should guests opt to put on a concert, wooden amphitheater seating provides for that, too.

As for the cost, it came in at the equivalent of only $110 per square foot.

Happy campers all around. —Edie Cohen

ZHANG ZHEMING

PROJECT DESIGNER: SHANMU ZIHONG.

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Sun Valley Bronze is now offering cast brass in two new finishes.

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FROM LEFT: JOHN HORNER (2); NIC LEHOUX

JOHN HORNER

“This building is for designers, and they’ll be looking closely”

b e stofyear

higher education

nadaaa

FROM LEFT: JOHN HORNER (2); NIC LEHOUX

JOHN HORNER

University of Toronto John H. Daniels Faculty of Architecture, Landscape, and Design Designing a space that will, in turn, inspire great design. That was the heady task that principals Nader Tehrani and Katherine Faulkner undertook at this undergraduate and postgraduate facility. What they accomplished is a rich mix of old and new, patina and polish.

Beginning with an 1875 seminary in a spiky Victorian Gothic style, Tehrani and Faulkner retained the pointed windows and the herringbone parquet. Behind the building, they added a 111,000-square-foot wing with, Tehrani says, “a very spare palette” based on concrete and birch with accents of construction yellow. Faulkner adds, “Ensuring that the details were handled well took some extra effort. This building is for designers, and they’ll be looking closely.”

Larger lessons from the new wing are about spatial complexity.

The “beating heart of the school,” as she puts it, is a long and lofty studio that opens up to rooms below as well as to the sky above, thanks to a spectacular roof structure that blends skylights and drainage into undulating drywall forms. “The space is a signal to the larger city: This is the kind of school we are.” And the kind of architects she and Tehrani are. —Alex Bozikovic PROJECT TEAM: RICHARD LEE; TOM BERESFORD; ALDA BLACK; AMIN TADJ; TIMOTHY WONG; MARTA GUERRA PASTRIAN; JAMES JURICEVICH; JOHN HOUSER; PARKE M AC DOWELL; DANE ASMUSSEN; LAURA WILLIAMS; PETER SPROWLS; NOORA AL MUSALLAM; TAMMY TENG; WESLEY HIATT; JOHN MARS; MAZYAR KAHALI; JONATHAN PALAZZOLO; KIAN YAM.

DEC.17 INTERIOR DESIGN

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Old and new, indoors and out. All mesh with an expansion for a prestigious public school founded in 1917. It had seen several locations until claiming this 9-acre property in 1999.

The site conditions encountered by principal architect Lim Koon Park entailed a traditional clock tower flanked by two colonial-influenced wings that faced an expansive lawn with a running track. To accommodate the grow­ ing student body, Park proposed a three-story U shape, 66,000 square feet. Both legs of the U would house classrooms and other academic spaces. There would also be extracurricular facilities including a double-height theater with 300 seats and a triple-height gymnasium with maple flooring.

Neither emulating nor overwhelming the existing buildings, the new one is constructed from steel-framed slabs of reinforced concrete, glass, and aluminum louvers angled to control the tropical sun. In further deference to the surrounding campus, his addition is partially belowgrade. “Even though there are learning spaces in the basement, they feel more like a sunken ground level, because the courtyard brings in plenty of natural light, views, and ventilation,” he says. Better yet, the slope of the roof, covered with artificial turf, provides a perch for spectators at track meets on the sports field beyond. —Edie Cohen

“In deference to the surrounding

PROJECT TEAM: CHRISTINA THEAN; YIN WING YONG; NUNTAWAT TASANASANGSOON; ADRIAN A. GESMUNDO; FIONA CHUA SHI YI; ASHAWIN LAOHAVICHAIRAT.

park + associates

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EDWARD HENDRICKS

EDWARD HENDRICKS

Nanyang Girls’ High School, Singapore

EDWARD HENDRICKS

EDWARD HENDRICKS

campus, the addition is partially below-grade”

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large primary/secondary education DEC.17

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small primary education

pal design group It was a Best of Year winner published in 2013, Joey Ho Design Limited’s Spring Learning preschool in Hong Kong, that caught the eye of entrepreneurs looking to open an earlychildhood center thousands of miles away, across the Pacific Ocean. It turned out that, in the intervening time, Joey Ho had become design partner at another firm. The entrepreneurs tracked him down there and commissioned him for the long-distance project. Thanks to videoconferencing and four site visits, the facility was built out over a 15-month period.

His cliché-busting design abandons gaudy colors and plastic toys, things he calls “the result of adults superimposing their own perspective.” Instead, he favored lots of white, accented with pastels and oak veneer. Arched doors, in child and adult sizes, are clear glass, allowing parents to peer in at what their offspring are up to.

The 8,200 square feet encompass climbing ropes, slides, and a ball pit; rooms for teacherled activities; and a café where parents can take a breather, “flat white” coffee in hand.

Whimsy abounds, as in the elevated reading nook styled as a hot-air balloon. There’s nary a straight line in sight. Instead, curves rule, notably Ho’s signature ice-cream drip. Taking the form of mirrors that appear to slip down restroom walls, the motif was also a feature at Spring Learning. —Georgina McWhirter PROJECT TEAM: PATRICK LEUNG; JOSLYN LAM.

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CLOCKWISE FROM BOTTOM: MICHELLE YOUNG (2); AMY PIDDINGTON

Nubo Indoor Play Center, Sydney, Australia

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12/13/17 9:32 PM

WEST ELM

POTTERY BARN

WILLIAMS SONOMA HOME

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b e stofyear

green

stinessen arkitektur

“I

Mortenhals, Norway

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TERJE ARNTSEN

TERJE ARNTSEN

Above the Arctic Circle, overlooking a fjord on one side and shielded by forest on the other, sits one of Snorre Stinessen’s most impressive and eco-conscious projects to date. The unusual configuration of this 2,500-square-foot family compound, comprising multiple cabins, plays with the way that the visitor slowly discovers what’s hidden behind the wooden doors. Even the outdoor areas remain private, with only waterscapes or trees as neighbors.

In addition to the aesthetic appeal of the design, it checks off all the eco-conscious boxes: The forest was protected during the building process, all wood was sourced locally, water is used with restraint, and electricity is primarily hydropower. “The construction of separate volumes, with inbetween spaces, naturally creates different temperature zones for a very controlled use of energy for heating,” Stinessen explains. “Also, philosophically, the passing from one zone to another, from one activity to another, is emphasized as a journey.”

Natural environment and man-made architecture meet seamlessly and unpretentiously in that way Norwegians seem to get particularly right.

Stinessen understands these intersections. Take the central courtyard that, with its fireplace and outdoor kitchen, serves as a winter piazza or the south-facing outdoor area that becomes the setting for long meals on balmy nights. Of course, regardless of the season, there’s also the sauna-with-a-view. —Ondine Cohane

TERJE ARNTSEN

TERJE ARNTSEN

“In addition to the aesthetic appeal of the design, it checks off all the eco-conscious boxes”

DEC.17

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JONATHAN LEIJONHUFVUD

JONATHAN LEIJONHUFVUD

“Rail-inspired tubing races across the walls and ceiling”

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entertainment

one plus partnership limited

JONATHAN LEIJONHUFVUD

JONATHAN LEIJONHUFVUD

Shanghai Omnijoi International Cinema

The medium is the message at this theater, which reinterprets filmmaking tools typically unfamiliar to movie-goers. During production, for example, camera operators use metal rails to roll the camera and glide it across the set for tracking shots. Here, the two principals abstracted those functional rails as the defining motif for the 35,000-square-foot interior, part of a shopping mall.

Rail-inspired tubing races across the walls and ceiling to embellish the lobby, a pair of theaters, and connecting spaces. At times, the tubes are again functional, becoming sconces and seating.

Some even serve as sink fittings in the restrooms.

The tubes are a customized kit of parts, capable of creating nine shapes. Before assembly and installation on-site, they got a coppery fluorocarbon coating that stands out in sharp contrast to the flamed black granite of the theater’s walls and floor. Virginia Lung adds, “We chose it for easy maintenance and durability.” And to enhance the futuristic, fluid appearance. Ajax Law says, “The installation precisely mirrors our drawings, so people have often mistaken our final project photos for renderings.” —Craig Kellogg

DEC.17

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civic

It’s an architectural performance piece, undeniably the highlight of Norman Foster and Thomas Heatherwick’s master plan for the Bund Finance Centre, an 11-acre mixed-use development on the historic riverfront Bund. “Theatrical curtains,” three overlapping tiers of bronzed tubes ranging in length from 7 to 52 feet, appear to rise and fall while rotating around a four-story building. This undulating movement, accomplished with the help of motorized tracks, alternately reveals and conceals the balcony and curtain wall behind.

The 43,000-square-foot building’s occupant is a foundation that celebrates Chinese art and crafts, and these provided rich sources of inspiration. Recalling bamboo and referencing the golden strands of traditional bridal headgear, the tubes of the kinetic curtain are furthermore imprinted with a subtle textured pattern that pays homage to weaving. Classical open-air theater, meanwhile, influenced the airy elevated position of the main auditorium.

“An optimal blend of craft and cutting-edge technology, this unique form offers a memorable experience for visitors,” Foster + Partners senior executive partner and head of studio Gerard Evenden says. As for Heatherwick, he’s certainly familiar with memorable visitor experiences.

His U.K. pavilion, known as the Seed Cathedral, was the sensation of Expo Shanghai 2010.

—Bethan Ryder FOSTER + PARTNERS: DAVID NELSON; SPENCER DE GREY; TOBY BLUNT; MARTIN CASTLE; DARA TOWHIDI; EMILY PHANG; EDSON YABIKU; NEIL AYRES; LIESELOT BAERT; ALEKSANDER BOCIEWICZ; CHEN YAN HEN; ASSAWIN CHOOCHOTTAVORN; DANIELLA DE ALMEIDA; PETER DONEGAN; MARIA GOLASOWSKA; HALLSTEIN GUTHU; ALLESANDRA IACOVELLA; VLADIMIR JOVANOVIC; KIM YONG BIN; ANGELIKI KOLIOMICHOU; ASHLEY LANE; LUCA LATINI; JIEXIN LEE; GIULIA LEONI; THOMAS MAHON; IRINA NAZAROVA; VITTORIA PALUDETTI; SONIA CAROLINA SALAZAR ROJAS; MICHAEL RUSH; JILLIAN SALTER; SHEN JIE; GREG SHENG; SUNPHOL SORAKUL; CHRISTOPHER STORIE; KRYZSZTOF SYZMANSKI; BRAM WAL; WANG WEN; SIMON WING; XU HUI; MUNEHIKO YOKOMATSU; YU SONGMIN; ZHOU YANTIAN; ZHOU XIAOZUE. HEATHERWICK STUDIO: DANI ROSSELLO DIEZ; GERGELY KOVACS; SIMONA AUTERI; TAL BARON; STEFANIA BATOEVA; EINAR BLIXHAVN; MARK BURROWS; TYLER BROWN; SARAH BOROWIECKA; ANDREW CHARD; JENNIFER CHEN; LEO CHEUNG; CHUANG YAOJEN; DANIEL COLEY; ROSIE CONNORS; LEILA DAVIS; KATERINA DIONYSOPOULOU; PINAR DJEMIL; LAURENCE DUDENEY; DOMINIC VADRA-EDWARDS; ANTOINE VAN ERP; LISA FINLAY; RICKIN FOK; JAKOB GATE; SARAH GILL; TAMSIN GREEN; PHILLIP HALL-PATCH; HAYLEY HENRY; BEN HOLMES;

ANDREW MC MULLAN; CRAIG MILLER; MIRA NARAN; FRANCIS NG; GIOVANNI PARODI; HANNAH PARKER; CLARA PIERANTOZZI; LUKE PLUMBLEY; BRANDO POSOCCO; ELIOT POSTMA; JEFF POWERS; ENRIQUE PUJANA; THOMAS RANDALL-PAGE; EMMANOUIL RENTOPOULOS; VILLE SAARIKOSKI; OLE SMITH; LUKE SNOW; SOPHIA TANG; ANDREW TAYLOR; PAUL WESTWOOD; MIGUEL WOODHEAD; ROBERT WILSON; CHARLES WU; CHRIS YOO; KELIN YU; TOM YU; ZHAN CHEN.

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LAURIAN GHINITOIU

ALEXANDER LAING; CHANGYEOB LEE; JEROEN LINNEBANK; VIRGINIA LOPEZ FRECHILLA; JAKOB LUND; JOSÉ MARQUEZ;

LAURIAN GHINITOIU

INGRID HU; NEIL HUBBARD; WILLIAM HUNTER; SARA JAAFAR; JONATHAN JONES; PETER KING; MICHAEL KLOIHOFER;

foster + partners and heatherwick studio Fosun Foundation, Shanghai

LAURIAN GHINITOIU

LAURIAN GHINITOIU

“Three overlapping tiers of bronzed tubes appear to rise and fall”

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civic

neri & hu design and research office Pavilion, Suzhou, China Aimed at stressed-out city dwellers, Sangha by Octave is a lakeside health-and-wellness retreat and residential development. At its center stands a pavilion conceived by husband-wife Interior Design Hall of Fame members Lyndon Neri and Rossana Hu to serve as a place of reflection for guests and owners. “We thought that it should be tranquil and, at the same time, a beacon,” Neri says.

Octave, the socially responsible real-estate development company co-owned by Hall of Fame member Calvin Tsao, had asked for a building that could be used for various events while exuding the solemnity of a sacred space. You get that sensation on approaching the luminous cube, elevated by a plinth of gray brick that has a spare, almost monastic quality. The entry progression then takes you on a contemplative journey through bricklined passageways and up staircases. Inside, oak slats wrap the upper walls of the “nave,” its mezzanine, and the cathedral ceiling. “The project is about layers,” Hu says. “Both visually and experientially.”

She and Neri drew inspiration from European cathedrals that, centuries-old, continue to inspire awe. And because the 6,300-square-foot pavilion is relatively small when compared to, say, St Paul’s Cathedral in London, the architects hope that visitors will feel a sense not so much of awe as of peaceful introspection. —Justin Bergman PROJECT TEAM: NELLIE YANG; JERRY GUO; BEGONA SEBASTIAN;

PEDRO PEGENAUTE

SHIRLEY HSU; DANA WU; MAIA PECK; BRIAN LO; SIMIN QIU.

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PEDRO PEGENAUTE

“The building, used for various events, exudes the solemnity of a sacred space”

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museum/gallery

tanseisha co.

Hiroshima Peace Memorial Museum, Japan

NACÁSA & PARTNERS

“Everything can vanish instantly with a single nuclear explosion”

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Certain moments are not mere ticks in time’s unending progression but rather chasms, separating realities. August 6, 1945, at 8:16 AM, when the U.S. dropped an atomic bomb nicknamed Little Boy here, was the precise instant that mundan­ ity transformed into hell. A renovation of this museum’s East Building conveys that calamity in 20,000 square feet. Visitors pass from scenes of life before the bomb, through a doorway in a wall representing the instant of detonation, and into a dim room covered on all sides by panoramic photographs of the devasta­ tion. “You go through that wall, and the horror is right there before your eyes,” design director Toshitake Tanaka says. At the center of the room sits a model of the city, 16 feet in diameter and entirely white, onto which computer graphics and aerial photographs of the bombing and its aftermath are projected.

Tanaka says he took a new approach to the exhibits: “To get people to think about how everything can vanish instantly with a single nuclear explosion, I added spatial experience and appealed more deeply to emotion.”

There are also interactive media tables that highlight the risks of nuclear weapons as well as the city’s recovery. In fact, the museum’s original building was part of that recovery—an architectural icon completed in 1955 by Kenzo Tange. —Winifred Bird PROJECT TEAM: AKIHUMI HUJII; TOMOKO SHIMA; SHIGENOBU KOSUGI; HIROKI KURAMOTO; EIMI

NACÁSA & PARTNERS

NISHIKAWA; MASANORI HUKANO; SATOMI UCHIUMI; KENJI TAKAHASHI.

DEC.17

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library

department of architecture co.

Thailand Creative & Design Center, Bangkok

W WORKSPACE

A beguiling mash-up of art deco and International Style architecture, completed in 1940, the Grand Postal Building is now home to a much more recent government entity. And it’s a newcomer with a mission—to nurture and advance the country’s creative businesses by providing a broad range of resources and services. Now they all occupy the five-story building, transformed by principals Amata Luphaiboon and Twitee Vajrabhaya.

Along with offices, coworking spaces, seminar rooms, workshops, and two multipurpose spaces that often host exhibitions, the center’s main components are two libraries. One consists of samples curated by none other than Interior Design sister company Material ConneXion. Design books can be found in the other, a 5,000-square-foot clear glass box at the top. The latter’s massive yet ethereal volume exemplifies Luphaiboon and Vajrabhaya’s approach to the whole project: New architectural elements are treated as objects added to an existing structure while retaining its distinctive mid-century character.

Inside the library, books sit on open shelving in white powder-coated steel inset with translucent acrylic panels. The white frames then rise 30 feet, as an empty grid, passing through the ceiling’s painted acoustical panels to meet the roof’s steel structure.

Translucent materials and clean, unfussy forms imbue the intervention with a glowing quality that complements the weighty historic shell. Inspiring such design-based dialogue is the center’s mission, after all. —Peter Webster PROJECT TEAM: PEERAPAT SINGKALVANICH; PENLADA SOMJAIDEE; KOMKRICH THONGLAEM; TANASAB APIWANNARAT; WORRAWIT LEANGWEERADECH; TANAPAT PHANLERT; PHASIT RATTANA­CHAISIT; T-MAH CHAIVUTHIGORNVANIT.

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to an existing structure while retaining its distinctive mid-century character” DEC.17

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FURNITURE

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nonprofit

ra-da Raise a rafter? Sure. But how about raising consciousness? Conceiving a Utah-based organization’s first East Coast adoption center, principal Rania Alomar pictured not just a place to resettle pets but also a platform to articulate the mission of eliminating U.S. kill shelters by 2025. “The center is a sanctuary in the middle of Manhattan, referencing the temperament of the organization,” Alomar explains. And winning acclaim, starting with a NYCxDesign Award prior to BoY. Canyons between Utah’s grandiose red-rock formations inspired the 3,900-square-foot facility’s winding circulation path, paved with wood-patterned porcelain planks to complement the white oak on the walls and ceiling. Punctuating the trail are discovery zones: dog suites, a kitten nursery, a photo booth, and a shop selling pet collars and treats. Playrooms and consultation spaces, wrapped in sound-absorbing panels, give potential adopters one-on-one time with adoptees. Animal-specific areas remain resilient and cleanable, thanks to solidsurfacing and epoxy. Scattered across various surfaces, quirky quotations give frisky voice to the animals, while longer text conveys the organization’s objectives. Orange-flagged stations, equipped with tablet computers, are strategically placed to suggest practical ways of getting involved.

LED fixtures, programmed to mimic natural light, brighten in the morning and dim at night­ fall. That keeps the pets’ circadian rhythm on track for the day when they find their new home. —Mark McMenamin PROJECT TEAM: CATHERINE WU; SHU CAI.

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RALF STRATHMANN

Best Friends Animal Society, New York

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Spinneybeck I FilzFelt is a Knoll brand.

Spinneybeck is dimensional.

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Spinneybeck | FilzFelt | 800.482.7777 | spinneybeck.com

b e stofyear

outdoor

cannondesign and neuf architect(e)s Centre Hospitalier de l’Université de Montréal

ADRIEN WILLIAMS

This huge hospital has bragging rights to spare: 3 million square feet and 12,000-plus rooms— for phase one alone. (Phase two is scheduled for completion in 2021.) And that’s just indoors.

The outside of the building is animated by the results of the Quebec government’s dictate that at least 1 percent of the project’s budget, the equivalent of $1.5 billion in the U.S., be dedicated to public art. “We incorporated art directly into the architecture in ways that blur the line between the two,” Neuf Architect(e)s partner Azad Chichmanian says.

Viewable by patients and staff from above, seven roof terraces boast supersize depictions of various medicinal herbs, some dating to the founding of Quebec’s colonial predecessor, New France. This graphic effect occurs naturally, as plantings fill in the gaps in the paving’s precast fiberglass-reinforced concrete. The building facade, meanwhile, serves as a backdrop for 13 large-scale commissions from local artists, representing the biggest concentration of public art in the city since Expo 67. CannonDesign principal Jose Silva sums it up: “It’s rewarding to see the years of planning, design, and intense effort come to life.” —Mark McMenamin

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Spinneybeck I FilzFelt is a Knoll brand.

FilzFelt is modular.

Conceived in a university project by Cabs Design, the clever slotted design of Scale allows the sound-soaking modules to assemble in customizable patterning with 63 colorways of 100% wool felt. Learn more about Scale at filzfelt.com/scale.

Spinneybeck | FilzFelt | 800.482.7777 | filzfelt.com

b e stofyear

health care

ewingcole Jefferson Health, Cherry Hill, New Jersey

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HALKIN/MASON PHOTOGRAPHY

ERIC LAIGNEL PHOTOGRAPHY HALKIN/MASON

“The atrium is based on the notion of an Italian hill town”

ERIC LAIGNEL PHOTOGRAPHY HALKIN/MASON

HALKIN/MASON PHOTOGRAPHY

A word commonly bandied about in hospitals, clinical is rarely a compliment when it comes to design. Luckily that, yes, sterile aesthetic is conspicuously absent throughout this ambulatory care center. At 100,000 square feet, the building is the largest piece of a $200 million expansion.

Director of design Saul Jabbawy’s biggest challenge, aside from that of creating a vibe that’s natural and nurturing, was to establish a unified entry for the growing complex, including a tower planned for phase two. The solution came to Jabbawy out of the clear blue sky: a 22,000-square-foot atrium, soaring five stories high. “The series of cascading tiers overlooking a central public space is based on the notion of an Italian hill town,” he explains.

In that piazza, so to speak, greeters stand at podiums resembling tree trunks. Along the ascent from here, the woody surfaces of acoustical tile punctuate the white walls, as sunlight bounces off them. Radiating outward from the atrium are public and private spaces, such as waiting areas with hotel-worthy furnishings or consultation rooms concealed by silk-screened glass. “The more intimate spaces are treated like found objects,” he adds. Outside, the newly landscaped grounds include a garden between old and new structures. It’s a link between past and present, a hint of more to come. —Mark McMenamin PROJECT TEAM: MARK HEBDEN; PATRICK SINEL; HOLYNN WALLACE; CAITLIN D I MARZIO; JOSEPH WOOD; ALEXANDRA BONNER; PETER FRANKE; MELINDA KULYNYCH; DAN KOLOWITZ; CARL SPEROFF IV; BRUCE FALKENSTEIN; JAIME DELAROSA; COLLEEN BLACKWELL; KARAN HOFFMAN; TAYLOR WRIGHT; COLLEEN MULLIGAN.

DEC.17

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hdr and gensler and clive wilkinson architects and egg office

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FROM LEFT: DAN SCHWALM/HDR, GENSLER, CLIVE WILKINSON ARCHITECTS, PEDRO AND EGG PEGENAUTE OFFICE; MICHAEL MORAN/OTTO/HDR, GENSLER, CLIVE WILKINSON ARCHITECTS, AND EGG OFFICE (2)

MICHAEL PEDRO PEGENAUTE MORAN/OTTO/HDR, GENSLER, CLIVE WILKINSON ARCHITECTS, AND EGG OFFICE

Shirley Ryan AbilityLab, Chicago

PEDRO PEGENAUTE MICHAEL MORAN/OTTO/HDR, GENSLER, CLIVE WILKINSON ARCHITECTS, AND EGG OFFICE

FROM LEFT: DAN SCHWALM/HDR, GENSLER, CLIVE WILKINSON ARCHITECTS, PEDRO AND EGG PEGENAUTE OFFICE; MICHAEL MORAN/OTTO/HDR, GENSLER, CLIVE WILKINSON ARCHITECTS, AND EGG OFFICE (2)

Note the positivity of the term ability lab, as opposed to rehab. An ability lab is an open setting where physicians, therapists, and research scientists all work together with patients—and was central to reinventing the former Rehabilitation Institute of Chicago. This mold-breaking architecture project and rebranding effort was conceived by four firms with the institution’s visionary president and CEO, Joanne Smith.

The collaboration began with HDR and Gensler winning a competition, then temporarily combining studios to plan programming for the 27-story, 1.2 million-square-foot ground-up tower. According to the project’s creative director, HDR vice president and design director Thomas J. Trenolone, “Having everyone in one place, collaborating, increased the speed of the process and the creativity of the outcomes.”

Gensler design principal Anne Gibson chimes in, “We truly designed from the inside out.” There are 242 patient rooms, plus five ability labs named for their treatment focus: Arms and Hands, Legs and Walking, Strength and Endurance, Think and Speak, Pediatrics. Three are doubleheight, their staircases vital to the recovery process.

Interior Design Hall of Fame member Clive Wilkinson designed components for each ability lab and developed the extensive graphics program with EGG Office principal Christian Daniels. “It’s important for patient healing to impart optimism,” Wilkinson says. Daniels adds, “The graphics help create a distinct environment for each ability lab.”

Particularly vibrant, understandably, is the pediatrics waiting area, its graphics swirling around porthole windows into the ability lab, where children are learning to walk and play again. —Edie Cohen

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health/wellness

HDR: ABIGAIL CLARY; JON CRANE; TODD EICKEN; WILLIAM DEROIN; KEVIN AUGUSTYN; TREVOR HOLLINS; MICHAEL MCGINN; KARL LUST; JEFFREY FAHS; JENNIFER BRADLEY; LANCE THIES; CLAIRE SWANSON; RANDALL NIEHAUS; KRYSIA LYNCH. GENSLER: NILA LEISEROWITZ; GRANT UHLIR; STEVE WEINDEL; CARLOS MARTÍNEZ; BRIAN VITALE; LINDA MYSLIWIEC; ALEKSANDAR SASHA ZELJIC; TIM JACOBSON; SCOTT HURST; CHRIS GROSSE; LENA KITSON; LINDSEY FEOLA; RACHEL SEARS; DANIEL KRAUSE. CLIVE WILKINSON ARCHITECTS: CHESTER NIELSEN; AMBER WERNICK; HUMBERTO ARREOLA; BEN KALENIK; JESSE MADRID; EVAN BLISS. EGG OFFICE: KATE TEWS; MARY KIM HARMON; ANDREA LEE.

DEC.17

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resort

Silver-screen glamour pervades the Hollywood Roosevelt’s sister property, which also happens to be the first ground-up hotel by Gulla Jónsdóttir. A 12-story glass tower, the newcomer even boasts a suite called the Marilyn Penthouse, as in Monroe. Alongside the Hollywood moments, however, other references add nuance. Witness the nods to the island’s Portuguese colonial history, to traditional Chinese art, and—a common denominator for Jónsdóttir’s hospitality projects—to elements from nature.

“Ties to the Portuguese style can be seen in the eclectic flooring materials,” she says, pointing out the lobby’s teak and a restaurant’s concrete tile. Meanwhile, bronze appears throughout, from the reception desk’s undulating front to the 368 guest rooms and suites’ focal walls, debossed with patterns resembling abstracted enlargements of leaves that might be found on an ancient Chinese scroll. Moving from natural imagery to live plants, an upside-down garden descends through an organically meandering aperture in the teak strips of the 40-foot ceiling in the lobby. “I always try to incorporate curves to make people feel more embraced,” she continues. Outdoors, facing the South China Sea, the swimming pool derives its shape from the lotus blossom, and the teak platform crossing the water mimics a lotus petal. —Edie Cohen PROJECT TEAM: EMI TASLIN; ART URIBE; THU NGO; EMILIE RIOUALLON; NAZAMI KAMIZONO; MASHA SHISHKINA.

gulla jónsdóttir architecture + design

KELLY PULEIO

Macau Roosevelt, China

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261 Fifth Avenue, NYC • www.richloomcontract.com • 212.685.2187

b e stofyear

large chain hotel

ac martin InterContinental Los Angeles Downtown at Wilshire Grand Center

KIM; ELISA DE DIOS-HERNANDEZ; JORGE MEDRANO; MELANIE GUTIERREZ; GRIT LEIPERT; EDMUND LAU; NAOKO MIYANO; RYAN PETERSON; LILY CHUNG; INGA NEWSOM; GERARDO RAMIREZ; MIN SUNG; JOANNE CAMACHO; RACHEL EISNER; NOEL MORENO; JOSEPH VARHOLICK; ARACELI GOMEZ; MELISA SHARPE; LALIDA NAKATANI; GREG PRELOGAR; GARY BROEKER; KUMIKO MATSUDA; JESSICA HOULEMARD.

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ERIC LAIGNEL

PROJECT TEAM: CHRISTOPHER C. MARTIN; CAREY MC LEOD; TAMMY JOW; GEORGE VANGILLUWE; TIM REDMOND; ISAAC LUNA; PETER

ERIC LAIGNEL

It seems like yesterday that David Martin presented journalists with the architectural model for a mixed-use project that would alter the city’s skyline. Martin, then design principal, revealed a tower with a hotel and offices, plus a podium at the bottom, capped by a pool terrace.

Years passed, and we monitored progress. By the opening, the next generation—design principal Christopher King, director of design Sandra Lévesque, and project director for interiors Michelle Sterling—had taken over the 110-yearold family firm. This is its first comprehensive hospitality interiors project.

It includes a street-level entry, a sky lobby up on 70, three restaurants, two ballrooms, a gym, and 899 guest rooms and suites. For sure, figurative conceits were needed to tame the vastness. “Each space has its own personality— like the characters in a movie,” Lévesque says.

Sterling adds, “We’re trying to dispel the myth of L.A. as a vast valley with no soul.”

Guests arrive at a porte cochere with a mural that evokes sights from the LAX sign to palm trees. “It’s like driving through L.A. at dusk,” King says.

Bona fide blue-chip art follows with the entry’s rainbow wall installation by Doh Ho Suh. Photomurals, a key element in the guest quarters, include an aerial shot of houses and swimming pools that’s been emblazoned with the words California Dreaming. —Edie Cohen

ERIC LAIGNEL

ERIC LAIGNEL

“Bona fide blue-chip art, the entry’s wall installation is by Doh Ho Suh”

DEC.17

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Luxury hotels and Lauren Rottet. They definitely go together. But airport hotels? This hotel at Hartsfield-Jackson Atlanta International Airport does not sound like the kind of project we expect from the Interior Design Hall of Fame member.

On the other hand, why shouldn’t road warriors enjoy a touch of class, too?

Rottet started the three-year project by giving the idea of luxury her unique spin, a major departure from time-worn travel experiences. “It’s about letting a place have its own voice, something you can’t find anywhere else,” she says. Here, it’s tied to notions of a diverse South. Subtle allusions to history and culture pervade the vast ground level and the 204 guest rooms and suites.

Knowing Rottet as we do, the importance of art was a given. Step into the reception area to be greeted by murals—in one, a silhouetted young woman is held aloft by birds. One of the lobby’s pair of lounges is even styled as an “art studio.”

Part creative space, part meeting room, it’s outfitted with brushes and paper in addition to the expected sofas with built-in USB ports.

Every guest bathroom features a custom mirror with side panels that are angled and lit. “You can tell it was designed by a woman,” she says. Here’s looking at you, kid. —Edie Cohen PROJECT TEAM: DAVID DAVIS; ENRIQUE VELA; JAMES CULL; ASHLEY LIU.

rottet studio Renaissance Atlanta Airport Gateway Hotel

PROJECT TEAM: LIM KOON PARK; JEERAPORN PRONGSURIYA;

small chain hotel

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MUTIARA HERAWATI; WONG ZI XIN.

DEC.17

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b e stofyear

u.s. boutique hotel

inc architecture & design and marvel architects and michael van valkenburgh associates 1 Hotel Brooklyn Bridge Park, New York Think globally. Design locally. This twist on the activist rallying cry is a fitting mantra for the latest property in the eco-forward 1 Hotel brand launched by Interior Design Hall of Fame member Barry Sternlicht, CEO of Starwood Capital Group.

INC partners Adam Rolston, Drew Stuart, and Gabriel Benroth created the artfully sustainable look, unveiled on Earth Day inside a 10-story building by Jonathan Marvel, in a section of a wild, willowy riverside park by Michael Van Valkenburgh, who also designed the hotel’s rooftop pool area.

The 194-key interiors job entailed tackling such questions as: “What is sustainable luxury?” And: “How do you celebrate the spirit of the borough without that most overused of Brooklyn design tropes, the Edison bulb?” Initial direction came from Sternlicht’s concept of capturing the beauty of nature while safeguarding the environment. Wood and stone, often reclaimed, feature prominently. So do green walls. Additional inspiration derived from the site’s previous incarnation. “We tried to relate to the history of the wharf that used to exist here,” Rolston says. His team also engaged with the local maker and artist community. Uhuru Design, for example, turned beams from the nearby Domino Sugar refinery into cocktail tables. Almost entirely missing are Edison bulbs. You’ll find them in only a handful of sconces.

—Raul Barreneche INC ARCHITECTURE & DESIGN: TYLER KLECK; LOUISA REVITTE; MEGAN MCGING; RILEY MILLER. MARVEL ARCHITECTS: GUIDO HARTRAY; DENNIS VERMEULEN; ANDREW TORRES; J.S. YONG.

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ERIC LAIGNEL

ERIC LAIGNEL

interiordesign.net/inc17 for a video walk-through of the hotel

ERIC LAIGNEL

ERIC LAIGNEL

“We tried to relate to the history of the wharf that used to exist here”

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foreign boutique hotel

studio arthur casas and oppenheim architecture & design

—Paul Clemence STUDIO ARTHUR CASAS: CRISTIANE TROLESI; NARA TELLES; FELIPE BUENO; ADRIANA YIN; NARA ROSETTO; VICTORIA CHAVES; RENATA ADONI; RAÚL CANO; LUCAS TAKAOKA; ADRIANA ANDUGAR. OPPENHEIM ARCHITECTURE & DESIGN: CARL RÖMER; KEVIN HEIDORN; ALEX LOZANO; ALEXIS COGUL; OLIVIER MONTFORT.

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FG+SG ARCHITECTURAL PHOTOGRAPHY

How can you compete with one of most exuberant beach views on the planet? That was the conundrum facing Interior Design Hall of Fame member Arthur Casas and architect Chad Oppenheim when they were working on a hotel at the famed Copacabana beach. Their answer came in the form of a scheme that blends Brazilian modernism with a contemporary sensibility of understated elegance. “The architecture is tranquil and natural,” Oppenheim says, “the result of a love affair with the city.”

Softening the dividing line between outside and in, the facade’s ingenious system of perforated fiberglass panels reinterprets the breeze block typically found in Brazilian architecture.

Their generous openings allow both ocean views and cooling air to enter, while bathing the 90 guest rooms and suites in a seductive play of light and shadow. The interior’s swoopy abstraction and organic shapes are inherited from the famous Copacabana sidewalks by landscape architect Roberto Burle Marx. A largely pale color scheme is punctuated by wood paneling and accents in brown and green. The furniture selection mixes noted local modernists such as Lina Bo Bardi and Sergio Rodrigues with Isamu Noguchi and, later, Paola Lenti.

FG+SG ARCHITECTURAL PHOTOGRAPHY

Emiliano Rio, Rio de Janeiro

FG+SG ARCHITECTURAL PHOTOGRAPHY

FG+SG ARCHITECTURAL PHOTOGRAPHY

“The architecture is the result of a love affair with the city”

DEC.17

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hotel transformation

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CHRISTOPHER PAYNE

PROJECT TEAM: CONG XIAO; ZHAO YANG.

CHRISTOPHER PAYNE

“The Romanesque revival sandstone behemoth had sat abandoned for decades”

deborah berke partners

CHRISTOPHER PAYNE

CHRISTOPHER PAYNE

Hotel Henry Urban Resort Conference Center, Buffalo Renowned 19th-century architect H.H. Richardson, the initials standing for Henry Hobson, has lent his first name to this tour de force of adaptive reuse. Interior Design Hall of Fame member Deborah Berke’s firm has reinvented the central part of Richardson’s imposing Buffalo State Asylum for the Insane as a hospitality and conference destination. A turreted Romanesque revival sandstone behemoth inside a Frederick Law Olmsted park, the 1880 landmark had sat abandoned for decades.

“What you see is how we found it,” senior principal Stephen Brockman notes. “There’s a plainness to it.” That certainly jibes with the firm’s penchant for minimalism. Dingy hospital colors got repainted, of course, mostly white. “We minimized any connection with existing blues and greens,” Brockman says. He also aggregated the tiny bedrooms for patients into 88 more generous guest rooms and suites.

Larger guest bathrooms were made possible by allowing them to bump out into the corridors—extra-wide, as they once served as day rooms for patients. The bathroom enclosures are cleverly disguised as armoires. Overhead, hoop chandeliers with classic glass globes come in two diameters, the bigger sizes reserved for correspondingly larger spaces. Furnishings are a minimal version of cozy, again for contrast with the history. —Craig Kellogg PROJECT TEAM: GUNNAR BURKE; VIRGINIA GRAY; BRENDAN LEE; JOHN MIDGETTE; ALESSANDRO PREDA; ALEXANDRA TAILER; YASEMIN TARHAN.

DEC.17

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Flair sofa, Flair central table, Milwaukee floor lamp.

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b e stofyearhotel dining

"Jouin describes the update as ‘an enchanted moment for diners in communion with nature’”

jouin manku Auberge de l’Ill, Illhaeusern, France Even in the rarefied world of haute cuisine, the Hôtel des Berges’s restaurant is exceptional. This beloved gastronomic institution was opened by Frédéric Haeberlin in 1882 as a modest country inn on the river Ill in Alsace. The cooking was done by his wife and later by their daughter and daughter-in-law. A grand­ son, Paul Haeberlin, won his first Michelin star in 1952, a second in 1957, and the third in 1967. His son, fourth-generation chef Marc Haeberlin, is now in the kitchen.

Interior Design Hall of Fame member Patrick Jouin and his partner, Sanjit Manku, recently completed their second renovation of the restaurant, celebrating its 50th year of Michelin triplestardom. Jouin describes the 4,250-square-foot update as “an enchanted moment for diners in communion with nature.” Like overhead reflecting pools, enormous mirror-polished stainlesssteel disks ripple on the ceiling. A panoramic mural in marquetry, a typically Alsatian craft, depicts a moonlit riverbank with a heron and storks in flight. On the floor, swaths of wool carpet in cerulean and aquamarine, deepening into a riverbed ocher, “bring the spirit of the river inside,” Manku adds. Finally, a shimmering wall—combining oxidized copper, more than a dozen fabrics, embroidered butterflies, and paper songbirds—adds a flash of fairy-tale fantasy. —Judy Fayard

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ERIC LAIGNEL

ERIC LAIGNEL

PROJECT TEAM: TANIA COHEN; BRUNO PIMPANINI; MORGANE BERTIN.

ERIC LAIGNEL

ERIC LAIGNEL

DEC.17

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bar/lounge

daipu architects design (beijing) corporation co.

Two Cups, Chongqing, China Hiking the trails that loop across the ridges surrounding the metropolis known as the Mountain City, a Yangtze River port that’s become a major destination for Chinese tourists, principal Dai Pu noticed how at ease residents were with the terrain. So Dai decided to channel it through the mountainlike elm shapes that dominate this bar’s 1,100-square-foot interior. “I realized that architectural forms should respond to— and respect—the local topography and landscape,” he says.

CNC-milled based on digital models and assembled on-site, the mini mountains appear to cluster in a picture-perfect range when viewed from outside, through the retractable storefront. Inside, they separate to become functional objects, serving as the bar counter and lounge seating. A patron might perch on a bench, for example, as if nestled between hills. “They introduce more relaxed body gestures,” he says. “You can lean, sit, and even lie down.” The dark neutral background—raw concrete for the floor and sidewalls and charcoal-gray glazed ceramic tile on the back wall—throw the mountain shapes in high relief, emphasizing the organic character of the grain and knots. The wood is also intended to show wear with use, a natural process evoking those involved in making the international craft beers served. —Athena Waligore

WU QINGSHAN

PROJECT TEAM: GONG CHENGYING; WEN SHIKUN; CAO HUI; ZHAN YU; CARYN CHEN.

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www.andreuworld.com

Chicago New York San Francisco Washington, D.C.

Visit our showrooms

Alya Chair by Lievore Altherr Molina Radial Conference Table by Estudio Andreu d

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casual dining

ippolito fleitz group White Monkey Pizza Lab & Bar, Leipzig, Germany

How do you reinvent something as basic as a pizzeria? For starters, try a new utensil.

Diners here are handed giant scissors for snipping through long rectangular pizzas with toppings ranging from the classic to the nontraditional. Nutella, anyone?

Next, introduce eye-catching furnishings and graphics. That’s where Interior Design Hall of Fame members Peter Ippolito and Gunter Fleitz enter the picture. Referencing the White Monkey in the establishment’s name, they employed cheeky simian shapes throughout the 3,300 square feet. (One monkey presents bananas on a platter.)

Monkey business aside, references to pizza’s native Italy dominate. Red, pink, and earthy tones recall sunny Tuscany; ceramic tile nods to the flooring in classic trattorias; and splashy, slightly surreal murals combine images of Renaissance art with dolce vita photography. “In a big space, an assertive collage is a conversation-starter,” Ippolito notes. Fleitz adds, “Everything is totally familiar but, at the same time, not at all.”

The 130 seats are configured to cater to families, solo diners, and everyone in between, thanks to a mix of banquettes, freestanding two-tops, and spots at the bar, a sort of E shape in glossy black. Bar patrons can perch on the gray leather-covered seats of stools while sipping cocktails. They include three monkey-themed variations.

—Mairi Beautyman PROJECT TEAM: ARSEN ALIVERDIIEV; KIM ANGENENDT; FYNN FREYSCHMIDT; TILLA GOLDBERG; YOU SEOK KIRSCHENMANN; AXEL KNAPP; ANDREA KOPPENBORG; KEREM ÖZERLER; SENHUI QIU; MARIO RODRÍGUEZ;

ERIC LAIGNEL

CHARLOTTE SCHEBEN; KIRSTEN WAGENBRENNER-ZIEGLER.

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Faded Not Jaded

Vintage Performance

architex-ljh.com

i29 interior architects Kitchen, Utrecht, Netherlands

B E STofyear retail/museum dining

To attract hungry shoppers at a high-end department store, De Bijenkorf, this café lives up to its name by showcasing the spectacle of cooking, with an accent on the fresh and the artisanal. “We banned stainless steel, because it says ‘food factory,’” Jasper Jansen explains. His firm’s other founding partner, Jeroen Dellensen, elaborates, “It might be self-service, but that’s not how it needed to appear.”

Eschewing the industrial, the pair opted for a natural and nature-inspired palette: oak with a clear finish and acrylic tinted verdant green or sunshine yellow. A play on the word bijenkorf, meaning beehive, takes the form of a honeycomb abstraction: hexagonal floor tile. The organic theme culminates in a luxuriant plant wall, the living heart of the 9,000-square-foot space.

Its unusual shape, a perfect triangle, was dictated by the location inside a glassy corner tower added during an overhaul of the store by the architecture firm Rijnboutt.

To take advantage of the corner’s city views and plentiful daylight, Dellensen and Jansen kept the plan open and sight lines unbroken, which also emphasizes the wide choice of dishes on offer. Chairs and stools represent an equally varied selection of high-end names. However, rather than simply relying on luxury, the architects astutely emphasized originality and attention to detail, since the look had to appeal to both well-heeled professionals and a large student population. —Jane Szita PROJECT TEAM: BEGONA MASIA; EGLE JACINAVICIUTE; MIKLOS KROEZE; RONALD VAN VLIJMEN;

EWOUT HUIBERS

RENÉ SJOERDSTRA; SUSANNE BAKKENIST.

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COMPLETE INTERACTIVE BRAND ENVIRONMENT WITH FEATURE COLUMNS, CANOPY AND SOLID SURFACE DESK PROJECT: COTY FUME SCENT LOUNGE, THE BAY, YORKDALE SHOPPING CENTRE, TORONTO, ON // DESIGN: DKSTUDIO PHOTOGRAPHY: A-FRAME PHOTOGRAPHY, (BEN RAHN) // BUILT BY: EVENTSCAPE // SEE MORE AT EVENTSCAPE.COM

Photography: Steve Tsai

b e stofyear

fine dining

rcr arquitectes “Something very singular, different from the other restaurants around.” That’s what super-chef Albert Adrià, who achieved world renown for “molecular gastronomy” at El Bulli, requested for the interior of his latest effort.

It’s one of six Adrià establishments, all clustered in an unfashionable area—an ambitious project that he has nicknamed El Barri. And what Rafael Aranda, Carme Pigem, and Ramon Vilalta, the surprise winners of 2017’s Pritzker Architecture Prize, cooked up for the 6,000-square-foot space is an experiential sci-fi production.

Up to 28 people a night embark on a culinary journey of 40-plus plates, passing through seven stations including an aperitif bar and a teppanyaki grill. Throughout the itinerary, diners are immersed in a bluish-green world that is both organic and high-tech. Translucent resin barrel chairs and pedestal tables appear to have been chiseled from ice caves. Acrylic paneling ripples, while puffy gray clouds of stainless-steel mesh cover the ceiling. Flooring and other surfaces in sintered stone have been treated with a watermark motif. Invisible to the eye is the plaque for the restaurant’s first Michelin star. —Suzanne Wales PROJECT ARCHITECT: PAU LLIMONA.

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CLOCKWISE FROM TOP LEFT: JORDI ADRIÀ; DÁMASO PÉREZ/FOTOTEC (2)

Enigma, Barcelona, Spain

DEC.17

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T H E B ES T S EAT I N TH E LO U NG E BU ILT TO OUTCOMFO R T & OV E R L A ST G U E ST AF T E R G U E ST | WOO DAR D- F U R N I T U R E .CO M

HOSPI TAL I T Y

shanghai hip-pop architectural decoration design co.

Setsugekka, Changchun, China A haiku must be only 17 syllables. That limitation does not, however, diminish the power of this Japanese poetry form. Likewise, chief designer Sun Tianwen restricted himself to a few key elements, namely glass and light, for a Japanese restaurant. “Stripping away decoration brings you closer to the divine,” Sun says. He also drew on Japan’s age-old concept of snow, moon, flowers, metaphorically winter, fall, spring.

The glass is the super-clear low-iron variety. It’s used for floor-to-ceiling partitions that break up the 14,000 square feet, on four levels, into multiple dining zones, many of them private, and a large area for drinking tea at an elongated table. At the entrance, the glass is etched with a life-size rendition of a Japanese cherry tree. Thousands of cherry blossoms are scattered across other partitions. Up close, the individual petals are visible. From afar, they seem to morph into a snowy winter scene in the blue light of color-changing LEDs—installed in coves lining the walls and diffused with specially treated glass that allows for a consistent, soft radiance. “Washes of blue, yellow, and pink light represent the different seasons,” he says.

Pure poetry. —Athena Waligore

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ZHANG JING

PROJECT ARCHITECT: CAO XINDI.

asian dining

12/13/17 9:18 PM

Ponder Designed by EOOS

For relaxing.

For imagining.

For musing.

Heads up. Not down. keilhauer.com

archstudio Hutel Twisting Courtyard, Beijing

To know the siheyuan is to know China’s capital well. An elemental building block of historic hutong neighborhoods, these centuries-old courtyardstyle compounds were conceived to accommodate an extended family.

They therefore encompass a main house in front, two “side houses,” and a rear “opposite house,” all surrounding a garden crisscrossed by decorative pathways.

In the city’s design-centric Dashilar quarter, one siheyuan—while con­ tinuing to represent traditional Chinese culture—has simultaneously been appropriated as a vision of change. Renovated by principal Han Wenqiang, what was once a single-story residence has become a rental property that can be booked for corporate retreats, business meetings, or overnight stays.

The titular twist is a ribbon of gray epoxy-finished pavers that wends its way through the courtyard, peeling up here and there to form sloping walls and roofs of various rooms, including the kitchen in white-on-white solidsurfacing. “The design explores the relationship between courtyard and architecture,” Han says.

Throughout the 1,730-square-foot interior, clever built-ins that he calls “embedded furniture systems” allow spaces to morph from tearoom to bedroom and back again. Each of the two side-house suites features an oak-clad niche containing a motorized dining table, which lowers flush to the floor, and a hideaway futon-style mattress, so guests can sip Oolong by day... and slumber by night. —C.C. Sullivan PROJECT ARCHITECT: HUANG TAO.

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WANG NING

WANG NING

coffee/tea

WANG NING

WANG NING

“The design explores the relationship between courtyard and architecture”

DEC.17

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counter service

cadena + asoc. concept design and esrawe studio Gelatoscopio, Mexico City Gelato and the kaleidoscope, both staples of a happy childhood. But the spot they lend their combined names to is no nostalgic trip to a sweetshop of the past. Instead, the tidy space is a visual flight of fancy. Ignacio Cadena describes it as “an instrument born out of the unexpected, transporting us to scenes of wonder.” Héctor Esrawe notes, “Every view is unique, like when you observe a kaleidoscope turning.” In fact, the 500-square-foot interior is a head-spinning kinetic experience dominated by aqua-painted corrugated aluminum.

The color is intended to be an allusion to the freshness of the shop’s ingredients while simultaneously lending a futuristic touch. Protruding from that backdrop is a sprinkling of circular frames. Some contain elements dedicated to shifting perceptions—magnifying glasses, mirrors, light fixtures, and, yes, kaleidoscope parts. Others allow views into the kitchen and prep area. Still others address programmatic needs, displaying the menu and descriptions of flavors and concoctions to tempt the neighborhood residents out for a stroll through the plaza outside. To which we can only add: delicioso. —Edie Cohen

CADENA + ASOC. CONCEPT DESIGN: ROCÍO SERNA; LUIS MEDELLÍN; RICARDO BIDEAU.

FROM TOP: JAIME NAVARRO (2); EDWARD WAY

ESRAWE STUDIO: JAVIER GARCÍA; MARÍA SANTIBÁÑEZ; LAURA VELA.

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P h . T h in k Wor k O bs er ve

Unexpected

s and lers eating.com

Rib b o n , d e s ig n An d e rs s en&Voll — c antaru tti.net

Commercial Porcelain  “SLATEWORKS” SERIES

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106

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ERIC LAIGNEL

ERIC LAIGNEL

extra-large office

“Bringing the outdoors inside is especially important with an enormous office complex”

saguez workstyle

ERIC LAIGNEL

ERIC LAIGNEL

Capital 8, Paris When the French national electric company’s headquarters was later privatized, it was remodeled to attract the shiny corporate clientele that populates the Golden Triangle, a business district in the Eighth Arrondissement. But that renovation was already looking dated when the real-estate developer Unibail-Rodamco commissioned Oliver Saguez for a polished new identity. So Saguez adjusted the layout of the ground level, which surrounds several courtyards, to improve flow to services such as a 24/7 concierge desk and in-house restaurants.

Loungelike coworking spaces are partially enclosed by bright green glass, which can furthermore be programmed to display realtime news, weather, or company information.

Green is his signature color, representing nature as a primary source of inspiration. He even matched shades of green paint to the ferns, moss, and lichen growing in the nearby Parc Monceau. From the gilded details of the park’s majestic gates came the golden yellow of the rugs at the lobby’s two reception desks. “Bringing the outdoors inside is especially important with an enormous complex like this one,” he adds.

Its 667,000 square feet cover almost an entire city block.

Upstairs, the marketing suite for prospective tenants resembles an office for an investment bank, law firm, or luxury brand. On the floor, plush carpet sports a curvy, mod pattern that could have come straight from the era when the complex was constructed.

—Kristin Hohenadel PROJECT TEAM: VALÉRIE PARENTY; BERNARD ASTOR; MARINE CASTANIER; MAXIME IACIANCIO; VICTOR MALLEZ; PIERRE-OLIVIER PIGEOT; ANNE-LAURE MANFREDI.

DEC.17

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clive wilkinson architects and wrns studio Intuit, Mountain View, California

“Each landing and bleacher stair connects to a large ‘living room’”

JEREMY BITTERMANN

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b e stofyear

large creative/tech office

An integrated team for a well integrated program. Interior Design Hall of Fame member Clive Wilkinson took on the interiors, naturally, for this Silicon Valley headquarters, while WRNS founding partner Bryan Shiles oversaw site planning and the building’s architecture. Objectives for the finished product: to attract and retain talent and to foster community spirit at an increasingly global operation, providing financial and tax software for small businesses.

The ground-up structure, four stories totaling 185,400 square feet, reads low and horizontal, a condition enhancing flexibility and “certainly encouraging connectivity,” Shiles says. The atrium and the deployment of the surrounding neighborhoods are key, too, as Wilkinson explains: “Each landing and bleacher stair along the atrium connects directly to a large ‘living room’ with pantry functions and generous collaborative work space.” Another factor promoting corporate camaraderie is the mechanical and elevator cores’ perimeter location.

That means more room not only for team configurations but also for break-out areas, lounges, and conference rooms. To that, add bike facilities, showers for the bikers, and terraces. A green roof, planted with native and adapted species to help manage rainwater runoff, literally tops it all off. —Edie Cohen JEREMY BITTERMANN

CLIVE WILKINSON ARCHITECTS: BRAD CARPENTER; SASHA SHUMYATSKY; SAM FARHANG; BEN HOWELL; MEGHAN KELLY; AMELIA WONG; CAROLINE MORRIS. WRNS STUDIO: SAM NUNES; BRIAN MILMAN; PAULINE SOUZA; RAUL GARDUÑO; MOSES VAUGHAN; RODNEY LEACH; ANNELISE DEVORE; JASON HALABY; DAVID GUTZLER; LI KUO; KEVIN MUNI; JOHN MC GILL.

DEC.17

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gensler Hyatt Corporation, Chicago Checking into the new global headquarters for the first time, this hotel giant’s employees got the shock of the new. For starters, they’re now all together. Not only the hometown staff but also their colleagues from the 700 properties worldwide converge in one 260,000square-foot location instead of several dispersed across the city. That’s not the only novelty either. To rethink the workplace model, principal Randy Howder’s team drew on hospitality cues. Experiential was the keyword, as in how guests experience a hotel. Think: arrival and departure, food and beverage, meetings and events, and guest rooms.

In that order, Howder started by focusing on the reception area, also a multipurpose hub for those far-flung “hoteling” colleagues to congregate as well as for company events. The office proper, planned as “customized work suites,” he says, combines the attributes of private offices with the flexibility of an open plan. Everyone has a designated seat in addition to the numerous iterations of collaborative areas, semiprivate nooks, and neighborhoodanchoring amenities. Each staffer can experience them all, according to how each works best. “Standouts were the client’s progressive values and willingness to push the boundaries of workplace strategy, paired with respect and admiration for design,” he adds. “It’s Hyatt’s new, hospitality-infused front door.” —Edie Cohen PROJECT TEAM: CRAIG PIERSON; KELLY DUBISAR; TERRY WALKER; SAMANTHA LEWIS; SCOTT LAY; IAN YOUNG; SUSAN HARRINGTON; LISA

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RAFAEL GAMO/GENSLER

RAFAEL GAMO/GENSLER

HSIAO; MELISSA GARCIA MAZARIEGOS; NICOLE COVARRUBIAS; SUE LEE.

“Experiential was the keyword, as in how guests experience a hotel”

b e stofyear

RAFAEL GAMO/GENSLER

RAFAEL GAMO/GENSLER

large corporate office

DEC.17

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b e stofyear

large consumer-goods office

E.&J. Gallo Winery, Modesto, California

gensler

One would expect the world’s largest family-owned winery, founded in 1933, to have a spectacular headquarters, not only to house its workforce but also to showcase the 90 brands.

“This is much more than just another building,” Interior Design Hall of Fame member Arthur Gensler says. “It drives creativity and productivity. It’s also this generation of Gallos making a statement that their company can compete with the best.”

Sensitive to existing buildings on the campus, the newcomer is similarly cast-in-place concrete, this time clad in white precast concrete. “Besides epitomizing California modernist architecture, concrete has been used in hot climates for thousands of years for its thermal properties,” Hall of Fame member Collin Burry, a design principal, points out. Organization of the two-story, 148,000-square-foot structure is predicated, Burry continues, on “three rectangular volumes connected by two atriums.” A steel canopy introduces the entry atrium, which furthermore features a site-specific lighting installation by David Weeks Studio that blows people away.

Another atrium, with light-diffusing louvers, and two of the volumes are dedicated to workplace.

The third volume, a bar shape, contains the café, a wine-tasting room, and a conference center on the ground level, the creative studio above. Throughout, window walls connect the building to the surrounding mature oak and pine trees—and to its heritage. —Edie Cohen PROJECT TEAM: KELLY DUBISAR; BENJAMIN PARCO; CAROLL CRUMP; DOUGLAS OLESON; BRENT VAN GUNTEN; JEREMY BAIRD; MICHAEL TOWNSEND; JOSH BERLINER; MARISSA EVERLING; JANE GREENTHAL; LISA HSAIO; TOM HORTON; REUBEN VERCAMP.

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NIC LEHOUX

NIC LEHOUX

“Concrete has been used in hot climates for thousands of years for its thermal qualities”

NIC LEHOUX

NIC LEHOUX

DEC.17

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b e stofyear

large law office

alliance architecture Venable, Washington Moving to a gleaming LEED Platinum palace in the booming East End, this 117-year-old law firm left behind the endless dreary silos of its former headquarters and embraced a cultural shift toward wellness and ergonomics. Sunlight penetrates offices with clear glass enclosures, every employee has a motorized standing desk, and the café opens onto a terrace complete with barbecue grills, a fire pit, a bar, and a boccie court.

The practice occupies 300,000 square feet, 80 percent of the base building. “That allowed us to streamline and choreograph the arrivals process,” principal Phil Olson says. From across the gray granite lobby, the law firm’s elegant stainless-steel logo beckons from an illuminated niche in a feature wall of limestone. In front of it, an aerodynamic red bench by Studio Massaud draws attention to glass doors through which an asymmetrical faceted reception desk is visible. From here, elevators whisk visitors up to a top-story conference center.

Above the staircase that connects the top two levels, Olson took advantage of the double-height volume to suspend a gleaming sculpture from the ceiling on long rods— a commission from an artist, Zachary Oxman. Near the stairs, treadmill workstations are popular spots for meetings. However, there are only six of these multitasking stations, so tardy lawyers might just have to sit. —Laura Fisher Kaiser

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ERIC LAIGNEL

ERIC LAIGNEL

PROJECT TEAM: SHERRY BANAEI; CORINNE RICO.

ERIC LAIGNEL

ERIC LAIGNEL

“The law firm’s elegant stainless-steel logo beckons from an illuminated niche”

DEC.17

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b e stofyear

midsize tech office

acdf architecture Quandaries abounded as associate architect Joan Renaud began plotting out the new headquarters of a young and fast-growing subscription-based entertainment streaming service. The previous tenant’s floor plan was tired, certainly not befitting such a hip enterprise. “Far from sexy” is how Renaud puts it. Even worse than the humdrum aesthetics was the fact that the 18,000-square-foot layout managed to isolate the private offices and to dis­ connect the departments, crying out for a sense of unity. Last but certainly not least, the pressure was on to be gentle on the environment—and the budget—by retaining as much existing structure as possible.

His solution? Every designer’s secret weapon. “Color became core to our approach,” he reveals. And he doesn’t mean just a few pops here and some accents there.

Aside from the central circulation corridor, paneled in glossy white vinyl, other connectors and common spaces are vivid statements in mustard, teal, or rose, with the walls and carpet coordinating for maximum saturation. Each team got assigned a different identifying color that also nods to the company’s logo. “It’s a simple game of contrasting and balancing,” he says. “But it creates a sense of belonging for the employees.” —Mark McMenamin PROJECT TEAM: MAXIME-ALEXIS FRAPPIER; VERONICA LALLI; MARTIN ST-GEORGES; ALAIN LARIVÉE; VALÉRIE SOUCY.

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INTERIOR DESIGN

ADRIEN WILLIAMS

Playster, Montreal

DEC.17

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RADISSON BLU JEAN-PHILIPPE NUEL Ligne Roset Contract offers our award-winning designs and bespoke furniture for hospitality and commercial use.

www.ligne-roset-contracts.com Contact usa@ligne-roset-contracts.com to find out how to include Ligne Roset in your next project.

belzberg architects Ground-up building, Mexico City

More than just an architectural endeavor, working south of the border is “a chance for us to send a message about the vibrancy of the culture,” Interior Design Hall of Fame member Hagy Belzberg says. His ground-up projects for the Mexican real-estate developer Grupo Anima include five office buildings intentionally on the fringes of hip areas filled with art galleries, artisanal shops, and restaurants, helping to change the global perception of the city. All five are furthermore conceptually connected via diverse forms that nevertheless share a language of dynamic facades.

The first building to be ready encompasses six levels of office space, 44,000 square feet, sitting on three levels of parking, with reinforced structural concrete shear walls able to withstand the September earthquake. So far, not so unusual. The elements that change everything are the alu­ minum strips that swirl across and over the glass volume and occasionally appear to pass through it. (Conceiving and perfecting this stunning treatment required nearly three years of meticulous research back home in Los Angeles.) Where the strips reappear inside, they curve around corners

to delineate function zones. Other than that, floor plates are virtually unobstructed, envisioned to appeal to the no-address, flexible workforce so prevalent in today’s luxury and creative businesses. To attract prospective tenants, Belzberg staged two levels, specifying furnishings and even adding built-ins. A high-end French liquor company ultimately signed the lease. —Edie Cohen PROJECT TEAM: BROCK DE SMIT; KRISTOFER LEESE; CORY TAYLOR; ASHLEY COON; JENNIFER WU; SUSAN NWANKPA;

b e stofyear

ROLAND HALBE

ELIZABETH LEE; ANNIE MAK.

midsize corporate office

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AzeriÂŞ a modern industrial design...

A Colour & Design Inc. Company

National Wallcovering Design Resource Levey Industries Koroseal Interior Products

Surface Materials

denovowall.com 1.866.556.9255

b e stofyear

120

INTERIOR DESIGN

WANG JIN AND WANG TING

midsize creative office

DEC.17

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cun design Elephant-Parade, Beijing The phrase “elephant in the room” gains new meaning, thanks to architect Cui Shu. Only this elephant is something that everyone is talking about. A staircase, elephantine in size and presence, even curves like a trunk as it winds through the 44,000-square-foot marketing agency. Connecting the top two of four levels, the stair fills an area that was complicated by existing beams. “We came to think of the trunk shape as a way to solve problems and organize the space,” Cui says.

It would be easy to read the name of the agency—mammoth in its own right at 300 employees strong—as his source of inspiration.

The sweeping curves might also be influenced by his fondness for skiing and auto racing, with their spiraling dynamism. On a more architectural note, he cites a quote attributed to Antoni Gaudí: “The straight line belongs to Man. The curved line belongs to God.” To soften the stair’s hefty mass, Cui used natural, locally sourced bamboo. Despite a long history in Chinese architecture, bamboo is more commonly used today for scaffolding than for indoor surfacing. He chose the material here for its ability both to create sharp edges and to form smooth curves.

The striking result might suggest up-to-theminute trends in visual language. However, the bamboo nods to the millennia of Chinese designers who have come before him.

—Clare Jacobson

WANG JIN AND WANG TING

DEC.17

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pone architecture Poly K18, Wuhan, China What’s the best way to make use of a long, narrow layout? In a counterintuitive move, one of this firm’s CEOs, Golden Ho, emphasized the linearity of a tech company’s office by stressing the horizontal. Long sapele-veneered elements stack up along the walls and line the ceiling, while matching desks stretch through the tunnellike space, sending the eye into the distance.

The tunnel effect encounters no vertical breaks—no uplifting atrium of the type common to office towers such as the one that this project occupies. “Ideas flow freely here,” Ho says. Indeed, because the exchange of information is important to the tech company, various meeting areas are interspersed amid the rows of workstations. Even the few walls dividing the free-form 7,100-square-foot floor plan are in tempered laminated glass, their transparent blueness accenting the openness more than counteracting it.

Blue seating and glossy white-lacquered storage units complement the pale sapele. And the combination of wood tones, blue, and white could be read as an idealized image of the Yangtze and Han Rivers as they flow past this inland city. Regardless, Ho succeeds in transforming constrictions of space into an opportunity for innovation. —Clare Jacobson PROJECT TEAM: MING LEUNG; PINGYONG LUO; WENDAI HUANG; BO WANG; YAHUI YANG; QI DING; ZIBIN LIN; JUNNENG HONG.

b e stofyear

COURTESY OF PONE ARCHITECTURE

small office

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FALL IN LOVE WITH GLASS AGAIN Guardian UltraClear low-iron glass ®

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b e stofyear

It’s a universal truth that a company existing only in the 21st century should have a correspondingly high-tech office. Scratch that. Founder Tomohiro Katsuki has subverted type with a surprisingly low-fi workplace for a Chinese e-commerce and social media marketing agency.

The 4,700 square feet on 2 levels of an existing office building has a childlike sense of wonder in nature. For starters, rope netting surrounds the mezzanine level “tree house,” where after heads-down work employees can indulge in feet-up relaxation. Continuing the theme, paintedsteel structural columns extend from trunklike columns like branches to support the lofted work space. Instead of the usual plastic laminate, OSB tops cast-in-place concrete bench desking on the main level. “You can really feel the tree. It’s almost alive,” Katsuki enthuses of the material.

(Don’t worry, it’s also lightly varnished so as not to feel scratchy.)

The initial plans called for an office for 80 staff. When that increased to 130 midway through development, Katsuki added bench desking to the mezzanine initially intended as a meeting area. Like the seats below, it wends its way in a loose Möbius strip, an allusion to the Chinese loop of good fortune.

prism design consulting shanghai co.

Unbot, Shanghai 124

INTERIOR DESIGN

—Georgina McWhirter PROJECT DESIGNER: CHE QI.

WATARU ISHIDA/STUDIO W

extra-small office

DEC.17

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8912-NG Winter Sky Birchply

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bates masi + architects East Hampton, New York In the many years that Interior Design Hall of Fame members Harry Bates and Paul Masi had been practic­ ing together, spreading their signature warm minimalism, their own office remained decidedly uncherished.

What’s more, it became a long drive for Bates, who is now 90. So the architects found an attractive site closer to home. They also found a friend who was looking for space for his law firm.

The resulting two-office building is a clean-lined volume of 5,000 square feet, clad in vertical planks of white cedar held together with stainless-steel clips. “When the exposed side of the planks is at the end of its life-span, we can just flip them around,” Masi says. “They’ll age like leather.” He and Bates chose white oak for the studio proper—the walls, the built-in shelving of the samples library, the floor, and the ceiling. Copper is found at the entries and, most dramatically, in the stairwell. The steps are mahogany, which reappears in the shower area and on the roof deck, a treasured spot for employee birthdays or a casual cocktail while the sun goes down. “I just really look forward to coming into work,” Bates says with a happy sigh. The office has become a home away from home. —Jesse Dorris

firm’s own office

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MICHAEL MORAN/OTTO

b e stofyear

MICHAEL MORAN/OTTO

PROJECT TEAM: DOUG FARRELL; AARON WEIL.

MICHAEL MORAN/OTTO

MICHAEL MORAN/OTTO

“Copper is found, most dramatically, in the stairwell”

DEC.17

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linehouse design WeWork, Shanghai

b e stofyear

coworking space

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INTERIOR DESIGN

JONATHAN LEIJONHUFVUD

Old is new again at this playful project by Brian Hickling and Alek Mok. The firm they co-founded has taken a 100-year-old redbrick mansion—which subsequently served as an opium factory, an ammunitions warehouse, and, more recently, artists’ studios—and completely revamped the place at the behest of the new Chinese arm of the U.S. coworking and real-estate giant. The rather Britishstyle building, in a residential enclave of “lane houses,” is entered through a stone archway. Hickling and Mok’s redesign therefore references the city’s era of European concessions. “Shanghai was embracing a mix then,” Mok says. Hickling adds, “It was East and West, fashion and art.”

In that spirit, whimsical moderne-inspired details include the meeting rooms’ pastel-colored geometric wallpaper, gilded by hand, and the polychrome striped terrazzo of the atrium. Formed by enclosing a courtyard to bring total square footage to 55,000, the triple-height atrium exudes the air of the lobby of a grand hotel. The atrium bar serves up coffee and tea, plus beer in the evenings. (For snacks and more substantial fare, a pair of pantries are found in an addition.) Audaciously snaking through the atrium, a staircase features balustrades painted multiple shades of green and blue for an optical gradient effect. The stair enhances connection between the levels, adding to the feeling of community among freelancers and start-ups. —Craig Kellogg

DEC.17

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NYC | SAN FRANCISCO | LA | CHICAGO | AUSTIN | MINNEAPOLIS | SYDNEY | MEXICO CITY | MONTERREY

BLUDOT.COM

130

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PEDRO PEGENAUTE

PEDRO PEGENAUTE

“Within this industrial environment, Neri and Hu inserted a layer of luxury”

“It’s small but meaningful,” Lyndon Neri starts. Rossana Hu adds, “We’re honored that both the structure and the program have received this kind of attention in the design world.” The married couple, Interior Design Hall of Fame members, are speaking of their hybrid project comprising a workplace, a lounge, and an automotive workshop, all sited in a former missile factory. With three of its brick walls still intact, Neri and Hu created their own white volume and added a steel-framed structure.

Concentrated at one end of the 28,800 square feet, functions such as the café and the car lift are each contained in a blackened-steel and mesh box. “Stairs, mezzanine platforms, and walkways float amid those mysterious black cages, so the cars and the people are constantly circulating about,” Neri explains. Within this industrial environment, he and Hu inserted a layer of luxury via custom furnishings favoring walnut and brushed bronze. It’s a touch of hospitality design as well as a reference to the long-ago era when meticulous craftsmanship was standard for automobiles. —Edie Cohen PROJECT TEAM: NELLIE YANG; JERRY GUO; BRIAN LO; NICOLAS FARDET; CHRISTINE NERI; SIWEI REN; HAIOU XIN.

neri & hu design and research office

PEDRO PEGENAUTE

PEDRO PEGENAUTE

Garage–Beijing B+ Automobile Service Center

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office adaptive reuse DEC.17

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commercial lobby

neri & hu design and research office New Shanghai Theater It had once been a proud movie house, built in the 1930’s during the golden age of Chinese cinema.

But many decades and multiple renovations later, the building was turned into a supermarket and eventually shut down entirely in 2011. Returning it to its cultural roots was therefore a major undertaking for husbandwife Interior Design Hall of Fame members Lyndon Neri and Rossana Hu. They began at the beginning, naturally, with the lobby.

It’s intended as a navigation vehicle between the street and the auditorium. “A sort of piazza that blurs the line between outside and in” is Neri’s description.

Hence the choice of an Italian sandstone, more commonly found in Florence, for the facade that towers above theatergoers as they walk through the recessed entry. At ground level, vertical brass-finished strips evoke a gilded curtain cloaking a stage—a treatment that continues inside to define a series of spaces conceptualized as different dramatic scenes. In the double-height atrium, this “curtain” glows in the sunlight from apertures carved out high overhead or, at nighttime, from minimalist LED pendant fixtures.

Beyond the lobby, a 300-seat theater awaits. This time around, it will host not movies but live performances, from plays to operas. —Mark McMenamin PROJECT TEAM: ZIYI CAO; TONY SCHONHARDT; LEI ZHAO; FONGWIN HUANG; YIFEI LU; NICOLAS FARDET; XIAOWEN CHEN; CHRISTINE NERI;

PEDRO PEGENAUTE

SIWEI REN; HAIOU XIN.

132

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b e stofyear

apartment lobby/amenity

Capital of Vision, Beijing

w.design A soothing retreat for emperors in 18th-century China, the Summer Palace was at that time set amid shaded gardens surrounded by a quiet forest. In today’s capital, near the palace, chief design director Ben Wu recognized a similar need for escape.

So he brought a feeling of imperial-style serenity to a building’s ground level and basement, 20,000 square feet in all. “We emphasized the relationship between man and nature, which is the essence of Chinese philosophy,” he explains.

This is instantly felt on entering the lobby. Its visual focal point, fluttering ever so slightly in the breeze, is a cloudlike ceiling installation of white crosses 3-D printed from resin. Elsewhere, softer lines and darker colors, accented by copper and lacquer, further enhance the calming, almost poetic mood. The balustrades of the spiral staircase, descending to the amenity level, are oak finished in an inky black to evoke the swooping brushstrokes found in Chinese calligraphy. Along corridors is yet another traditional element, glass pendant fixtures positioned just 2 feet above the floor to create an atmospheric lighting effect. Of course, there are thoroughly up-to-date attractions as well, such as a lap pool fit for an emperor.

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SUI SICONG

SUI SICONG

—Justin Bergman

SUI SICONG

SUI SICONG

DEC.17

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luxury condominium

esrawe studio and bjarke ingels group Grove at Grand Bay, Miami

INGELS GROUP: THOMAS CHRISTOFFERSEN; LEON ROST; ZIAD SHEHAB; BEAT SCHENK; JENNY CHANG; BRIAN FOSTER; EDWARD YUNG; JITENDRA JAIN; TIAGO BARROS; TERRENCE CHEW; JI-YOUNG YOON; HO KYUNG LEE; KASPER HANSEN; GREG KNOBLOCH; CHRIS MALCOLM; CAT HUANG; MARTIN VOELKLE; MAUREEN MC GEE; CHRIS FALLA; TAYLOR MC NALLYANDERSON; ALANA GOLDWEIT; MINA RAFIEE; VALERIE LECHENE; CHRIS GOTFREDSEN; AARON HALES; BENNETT GALE; HAOCHEN YU; HONGYI JIN; IANNIS KANDYLIARIS; MAUREEN RAHMAN; RAKEL KARLSDÓTTIR; THOMAS JUUL-JENSEN.

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RASMUS HJORTSHØJ

ESRAWE STUDIO: JORGE BRACHO; HANNI PAZ; LAURA TLAHUIZO; JUAN PABLO SANDOVAL; ENRIQUE OJEDA. BJARKE

RASMUS HJORTSHØJ

Avant-garde architecture, a tropical vibe, and ooh-la-la glamour coalesce on the former site of the renowned Grand Bay Hotel in the tony Coconut Grove neighborhood. Bjarke Ingels replaced the hotel with a pair of 20-story towers that soar above a looping two-story podium lushly landscaped with 500 trees and 15,000 plants. At the base, torqued concrete columns suggest minimalist sculpture. Floor plates are rotated 3 feet at every level between three and 17, so each of the 98 units affords maximum views of the garden below and Sailboat Bay beyond. Wraparound balconies extend outward as far as 16 feet, enhancing the indooroutdoor connection. As Bjarke Ingels puts it, “We ‘re-groved’ the heart of Coconut Grove.”

The individual units, which range from 1,200 to 10,000 square feet, are organized as open, flow-through spaces and graced with 12-foot ceilings. The materials palette features marble, limestone, teak, and oak. Given the city’s Latin American influence, the Danish architect tapped Mexico’s Héctor Esrawe for interiors. “They blend Latino and Scandinavian aesthetics,” Esrawe says. And amenities abound. In addition to the five swimming pools, there’s a pet spa and butler service. —Edie Cohen

RASMUS HJORTSHØJ

RASMUS HJORTSHØJ

“Torqued concrete columns suggest minimalist sculpture”

DEC.17

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rental apartment building

patrick tighe architecture

Smack in the center of densely populated Filipinotown stands Patrick Tighe’s paean to apartment living, designed to address the city’s housing shortage. Engaging and embracing the surroundings, the block-spanning 60,000-square-foot project contains 47 rental units across four stories, topping a concrete base that encompasses 2,000 square feet of storefronts.

The residential component is distinguished by a skin of cement-board. To signal the entry, Cactus Los Angeles Tighe designed an asymmetrical form clad with seamed bronze panels. Inside, the foyer is double-height in order to connect to a courtyard on the second level. “The apartments all open to the courtyard and its swimming pool and spa,” he says. Other amenities include a gym and a community room. As for where people actually live, the breakdown of apartments is like this: The ones on two are all one-bedrooms, while those above are town-house style with two bedrooms.

“Given the proximity to downtown L.A., housing in the area is in demand,” he continues. Proof is in the pudding. The property is 100 percent leased—with most units rented, at market rate, even before completion. And a café has signed on downstairs to serve them. —Edie Cohen PROJECT TEAM: KERVIN LAU; ANTONIO FOLLO; CHIA-MIN WANG; MICHAEL HO; BRAN ARIFIN; BOSEN LI; ADRIAN TSOU;

FROM TOP: MATTHEW MOMBERGER; ART GRAY (2)

YI YANG; JOANNE KIM; ANDREINA PEPE; RAMON ROBLES.

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pediniusa.com | info@pediniusa.com | 800.404.0004

an authentic Italian masterpiece, built for the masterchef in you

Mod. Dune

Design: Domenico Paolucci

Los Angeles, CA 323.658.8801 - Mountain View, CA 650.390.9615 - San Diego, CA 858.874.5800 - San Francisco, CA 415.913.7841 - Denver, CO 720.409.7990 Washington, DC 202.640.1976 - Miami, FL 305.567.2727 - Naples, FL 239.262.1144 - Sarasota, FL 41.371.4010 - Atlanta, GA 404.817.3313 - Glen Ellyn, IL 630.858.4848 Newton, MA 617.244.3993 - Madison, NJ 973.937.6060 - Paramus, NJ 201.261.5221 - Brooklyn, NY 718.615.0850 - Long Island, NY 516.374.4675 - NY, NY 212.334.0944 Dayton, OH 937.912.9130 - Portland, OR 971.254.9856 - Philadelphia, PA 215.600.2860 - Seattle, WA 206.767.4625 - Edmonton, AB 780.966.9066 - Vancouver, BC 604.971.3235 Toronto, ON 416.256.4922 - Montreal, QC 514.341.3636

deborah berke partners New York An urban pioneer a decade ago, deciding to move the Marianne Boesky Gallery to a gentrifying area, right next to the disused elevated tracks that would become the High Line park, art dealer Marianne Boesky commissioned Interior Design Hall of Fame member Deborah Berke for a ground-up building to house the gallery on the ground level and an apartment upstairs. Berke also furnished the 3,300-square-foot residence.

To set off the provocative art collection, the library sported plaid carpet, and the living room got a traditional onyx mantelpiece.

Both the mantel and the carpet survived senior principal Caroline Wharton Ewing’s recent refresh— a stylized portrait of a little girl by Yoshitomo Nara now hangs above the fireplace, and a white rug went down on the plaid to neutralize and update it. “The textured palette is more serene and sophisticated,” she explains. Chevron oak parquet likewise remains. The formerly chocolate-brown dining room is lacquered a blue-gray, and a neutral silk with a bluish cast covers the walls of the living room. Its lounge chairs are upholstered in natural shearling, while throw pillows are silk or faux fur. Replacing the original baroque sofa, a sky-blue velvet-covered sectional improves flow during the parties that follow gallery openings.

—Craig Kellogg

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large apartment

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FROM TOP: EDUARD HUEBER/ARCH PHOTO; WILLIAM WALDRON (3)

PROJECT TEAM: ELIZABETH CHADKIN; JANISHA WILSON.

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small apartment

joel sanders architect New York A vestige of the 1960’s and ’70’s, when the surrounding neighborhood was still a bastion of bohemia, not today’s luxe enclave, a funky duplex loft caught the eye of a CEO looking for a bachelor pad. It held lots of promise: a corner location and tall windows with river views. There were also drawbacks: a cramped sleeping loft, which obscured some windows and made the kitchen cavernlike. But the CEO knew that the right architect could work wonders.

Joel Sanders did exactly that by reconceiving the upstairs as what he calls a “sleeping capsule.” Containing the bedrooms, the asymmetrical volume floats free of the perimeter on three sides. “I liberated the windows, so occupants on both levels have views,” he explains.

For those inside the capsule, that’s made possible by its own windows, which line up roughly with the building’s. The capsule’s overhang furthermore defines the open lower level’s central kitchen, dining area, and den as distinct from the double-height living area and home office at the ends.

Dark colors and industrial materials had been selected for finishes throughout the 2,500 square feet when the CEO got engaged—and his fiancée preferred otherwise. The palette now combines natural and ebonized white oak, complemented by furniture by the likes of Norman Cherner and Rodolfo Dordoni. It’s a honeymoon mix. interiordesign.net/sanders17 for a video walk-through of the loft

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PROJECT TEAM: GREG EPSTEIN; NATHANIEL ELBERFELD; DAMU RADHESHWAR.

PETER AARON/OTTO

—Marisa Bartolucci

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model apartment

fogarty finger

PROJECT TEAM: JOHN ZIMMER; HAANWA CHAU; ANNELISE OPAAS; BUZZ WEI; MARGARET ZYRO; KATY GIBLIN.

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ALEXANDER SEVERIN

One of an increasingly popular type of real-estate development, fittingly adopting the boutique moniker originally embraced by hotels, this building has just five apartments.

But while the number of units may be small, the size of each certainly isn’t. The showcase triplex, with five bedrooms and six bathrooms, sprawls over 4,800 square feet not including three outdoor areas. One of them, a central courtyard, is the result of a space-reallocation sleight of hand. Since the building—actually two 1860’s cast-iron buildings merged long ago—is in a landmark district, the interior could not be expanded. So the architects cleverly subtracted some space. “We cut a hole in the middle to create a light well,” Chris Fogarty explains. That square footage was then transferred to create a rooftop “party room.”

The staging firm Interior Marketing Group brought in the low-slung modular seating and the flowing curtains to accentuate the high ceilings. Furnishings complete, the apartment was then featured on Bravo’s Million Dollar Listing. Sold! —Jane Margolies

ALEXANDER SEVERIN

25 Mercer, New York

ALEXANDER SEVERIN

ALEXANDER SEVERIN

“While the number of units may be small, the size of each certainly isn’t”

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HUG HINES FISCHER

bates masi + architects East Hampton, New York Sure, it’s nice living on the water. But when Long Island was hit

by Hurricane Sandy in 2012, it destroyed waterfront houses including one 1960’s example overlooking a lagoon. Interior Design Hall of Fame members Harry Bates and Paul Masi were hired to conceive a replacement that would be, as Masi eloquently puts it, “the child of the old one.”

That meant it should reveal its structure honestly.

Sited in the exact same spot, with the same orientation, the new version nevertheless needed to be built 5 feet above ground level to comply with new flood-zone requirements. Accordingly, the 3,500square-foot structure sits on a concrete base, like a sculpture poised on a pedestal. Skeletal steel columns and beams support a roof made of cross-laminated timber that’s left exposed on its underside to double as the ceiling surface, milled into recesses for light fixtures and cutouts for skylights.

Bates and Masi are renowned for coaxing beauty and variety from a limited materials palette. “Too many ingredients spoil the stew,” Bates says. Throughout, paneling is cypress, cabinetry is bamboo ply­wood, and flooring and counters are fossil-flecked Montana limestone. Bronze door handles, rescued from the old house, inspired the choice of burnished bronze to surround the fireplace. You need only a few ingredients if you choose them wisely. —Fred A. Bernstein

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COURTESY OF BATES MASI + ARCHITECTS

PROJECT TEAM: DANIEL WIDLOWSKI; JACK BOOTON.

beach house

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12/13/17 6:01 PM

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HARDWOOD & LAMINATE

NeueHouse, Los Angeles

“The landscaping is as considered as the interiors”

tsao & mckown architects

PROJECT TEAM: JONATHAN HOOVER; RICHARD RHODES.

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SIMON UPTON

East meets West and indoor-outdoor. Those familiar tropes were particularly pertinent for Interior Design Hall of Fame members Calvin Tsao and Zack McKown when they began work on a weekend retreat for fashion designer Josie Natori, born in the Philippines, and her financier husband, Ken, a Japanese-American. Tsao and McKown conceived the single-story, 3,000-square-foot structure as a kind of teahouse.

It’s constructed with Douglas fir posts and beams, which reduced the need for internal loadbearing walls. The result is both airy and cozy, a sublime combination. Sunshine pours in through the sliding glass doors and the asymmetrical skylights angling upward from the flat roof. The brightness enhances the overall palette of earth tones, peppered with the purple and chartreuse of the furnishings—many selected to complement the Natoris’ antiques. Tsao and McKown were also responsible for landscaping, so it’s as considered as the interiors. The veranda overlooks a Japanesestyle garden and an old-growth pine forest; one terrace incorporates a Balinese-inspired bath; and the master suite’s garden boasts a burbling fountain.

“All the stone that we excavated during construction is reused in the gardens and landscape,” Tsao explains. McKown adds, “The geothermal heating helps to achieve an energy-conscious design despite the openness and the expanse of windows.” The result? A modernist marriage of lyricism and pragmatism. —Dan Shaw

SIMON UPTON

Pound Ridge, New York

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SIMON UPTON

SIMON UPTON

suburban house

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city house

sheltonmindel Location confidential

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MICHAEL MORAN/OTTO

MICHAEL MORAN/OTTO

It was clear, in Interior Design Hall of Fame member Lee Mindel’s mind, at least, that the only way to tackle this project was to rethink the conventional approach to spatial constraints: Open up the 19th-century floor plan, turn four levels into seven, and evoke an ethereal sense of lightness in a tight urban environment.

After excavating an additional three levels, Mindel built a freestanding stair tower to traverse all the way down. This establishes a visual axis through the entirety of the house—not an easy task at 10,000 square feet. Punched-out openings along the stair give access to the different rooms. Throughout, he played with the juxtaposition of old and new. “Vertical and horizontal volumes that we created allow for uninterrupted sight lines, celebrating the building’s width and seamlessly integrating with the multi-level gardens in the front and rear,” he explains. The more you travel down the stairs, the more the design veers into a soft and elegant abstraction. “It’s deceptively simple,” he continues.

“This plan now almost seems inevitable, but it required a discipline and rigor that our clients were willing to support.” The outcome is a sincere bow to the past with a simultaneous, enthusiastic leap toward contemporary alternatives. —Emma Reuland

MICHAEL MORAN/OTTO

MICHAEL MORAN/OTTO

“Vertical and horizontal volumes allow for uninterrupted sight lines”

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“Restoring the building to its single-family glory was the quest”

gabellini sheppard associates New York A luxury boutique in a far-flung locale is usually where we meet Interior Design Hall of Fame member Michael Gabellini. This time we’re closer to home. . .at an actual home. And it’s every bit as grand as the retail projects he completes with Kimberly Sheppard.

There’s plenty of history associated with the property, a beaux arts town house completed in 1903 by Warren & Wetmore. The subsequent century inflicted a number of unfortunate interventions. Restoring the building to its single-family glory, layered with 21st-century accoutrements in Gabellini and Sheppard’s inimitable understated style, was the quest. Thus began their largest residential project ever, a seven-year adventure. Two years in, the owners decided to add a bona fide gym, complete with basketball half-court, and a 55-foot swimming pool. The latter is surrounded by white marble from Macedonia, creating the feeling of a “grotto,” Gabellini notes.

With the two subterranean levels added to the five stories aboveground, square footage totals 13,750. Connecting every­ thing is a spectacularly ethereal serpentine stair, its glass bal­ustrades capped by gleaming ribbons of stainless steel.

Illumination emanates from coves framing floating ceilings or from strategic slits, while a pervasive glow descends from the skylight over the stairway. “We take our principles from light artists,” Sheppard says. Think of Robert Irwin and James Turrell.

—Edie Cohen PROJECT TEAM: DANIEL GARBOWIT; BOBBY YOUNG; OZLEM AKCAY; SILVIA MAFFEI; TOMOKO HIROSE; COURTNEY ADAMS; CYNTHIA LI; JON MC CLANDISH; PIETER

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PAUL WARCHOL

interiordesign.net/gabellinisheppard17 for 10 Qs With Michael Gabellini and Kimberly Sheppard

PAUL WARCHOL

KLEINMANN; JONGKU YEE; KAREN BRENNER; DOUGLAS NEWKIRK.

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PAUL WARCHOL

PAUL WARCHOL

house transformation

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kitchen/bath

lukstudio Arda Co., Jiaxing, China With a decade of experience in hospitality, urban planning, and exhibition design, both in her native Hong Kong and in Canada, where she studied architecture, Christina Luk has put her cross-disciplinary sensibility on display—alongside forwardthinking kitchen appliances—at a showroom at the manufacturer’s headquarters. A 10,800-square-foot floor plate there now contains what Luk calls a “culinary village,” a compound of small structures including four housing “ideal kitchens.” Each has a theme: minimal white, total black, rustic country, and modern American. A redbrick gallery shaped like a Quonset hut leads visitors through the evolution of oven technology. The neighboring cooking classroom, resembling a kitchen in a private residence, allows them to whip up a dish of their own on fully functional test appliances.

Showroom access is via an elegant white-box gallery. A path of stepping stones leads to a tunnel with a witty water feature incorporating dishwasher jets. “Bringing together water, daylight, and plants, the series of semi-enclosed spaces is organized to evoke memories of wandering in a village,” she says. If that wandering whets the appetite, never fear: The VIP lounge offers fine dining, the cuisine seasoned with herbs grown in the exterior courtyard.

—Jesse Dorris PROJECT TEAM: LEO WANG; YIYE LIN; ALBA BEROIZ BLAZQUEZ; JINHONG CAI; RAY OU; MARCELLO CHIADO

FROM TOP: PETER DIXIE/LOTAN ARCHITECTURAL PHOTOGRAPHY (2); PROJECT/ION/ MOTION PICTURE PRODUCTION

RANA; YIREN DING; KUN MA.

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LINEA + AQUAPLANE + ELEGANZA lacava.com

LACAVA

Pulling off a minor miracle, a group of four developers has reinvented a department store’s site as a shopping mall and office space in the heart of the fashionable Ginza district. The 13-story building is the work of Yoshio Taniguchi. (Of Museum of Modern Art fame in the U.S.) The task of designing the 500,00-square foot mall interior fell to the firm led by Gwenael Nicolas. His solution? An unexpected brand of opulence that straddles experimentation and tradition to create a go-to shopping destination.

Take the central atrium. Aluminum louvers, layered over oak paneling, angle up toward a frosted skylight surfaced in washi paper printed with a hemp-leaf pattern. To Japanese visitors, the colors and lines evoke traditional design. The eyes of the less-initiated might see a futuristic fantasy. “That’s the power of a Japanese aesthetic,” the French-born Nicolas says. “Sometimes it looks classic, and sometimes it looks very avant-garde.”

The atrium is surrounded by more than 200 shops, each with a different floor plan. Signs guide shoppers along the idiosyncratic circulation paths, inspired by the twisting streets of an ancient city. To bring focus to the immense space, he invited artists to contribute installations. “The idea,” he says, “is for people to discover things—not just retail.” Participants have included Yayoi Kusama, whose trademark polka-dot pumpkins dangle overhead. —Winifred Bird

curiosity

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SATOSHI SHIGETA

SATOSHI SHIGETA

Ginza Six, Tokyo

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SATOSHI SHIGETA

SATOSHI SHIGETA

large retail

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small retail

giorgio borruso design WithMe, Los Angeles

BENNY CHAN/FOTOWORKS

Back to take another bow, Giorgio Borruso’s disruptive retail-technology concept won a Best of Year Award in 2016 for an appearance in Chicago. This time, the prefabricated mobile unit, with its customized embedded inventory technology, heads West to touch down at an upscale mall, Santa Monica Place. And we again have proof of concept: Change the files, not the fixtures. The plug-and-play modular setup can bring any brand to market, at any time, almost anywhere, with minimal on-site work, thanks to the flexibility of shape-changing robotics, adaptable lighting, and indi­ vidualized videos. The one constant is “the highest level of design and architectural aesthetics,” Borruso says.

This incarnation, at 7,800 square feet on two levels, is considerably larger than the precursors—and intended to remain much longer. Also new is a digital lounge taking over the upper level. Ditto the color-changing LED pendant fixtures that help to disguise the ceiling’s raw condition.

Reappearing, meanwhile, are the kinetic wall of stacked boxes, the touch-screen tables providing merchandise information, and the telescopic fitting rooms from which customers can order up outfit changes.

What about the brands leasing the space? So far, the discount department store Century 21 has completed a six-week run. —Edie Cohen

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weda I daniel wehrli

davisfurniture.com I 336.889.2009

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mixed retail

daosheng design Pinkah New Products Exhibition Hall, Panyu, China

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PENG YUXIAN

PENG YUXIAN

“Customers experience a warping of space and time”

Durability is a paramount concern when it comes to thermoses. This is one reason why founder He Yongming looked to the striated walls of a canyon as inspiration for his showroom for the popular Chinese thermos maker. After all, canyons are about as durable as it gets, withstanding rain, wind, and the test of time. “The client sought to create a strong visual sense, to show the different characteristics of the product and give it personality,” He says.

The organic feel of the 1,400-square-foot space was critical to the overall effect, but so was a contemporary design aesthetic. To help the thermoses stand out against the textured backdrop, He eschewed the bright hues found in nature and went with a more muted, minimalist color scheme. There’s a sense of order to the undulating faux-stone walls, as well, with straight horizontal lines that are perfectly suited to shelving. And in the center of the showroom is an oblong pillar connected to a swooping display unit that echoes a cave feature, yet is smooth and polished. “When customers step into this space, they experience a warping of space and time,” He says. Indeed, it’s a cavern unlike any in nature—it feels at once ancient and ahead of its time.

PENG YUXIAN

PENG YUXIAN

—Justin Bergman

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Trained on three continents, Nic Lee traveled to Denmark as an exchange student and to the U.S. to get his master’s in interior design at Pratt Institute and later join M Moser Associates. He then returned to work in his native Taiwan before founding his award-winning studio, known for experimental projects shot through with sly humor and irreverence. And that sensibility resonated with a third-generation pharmacist looking to upend family tradition.

Lee’s plan for the drugstore, its name a mash-up of molecule and cure, was to steer clear of lab sterility. Instead, he inserted bright color via paper stacked on the clear acrylic shelving. Elsewhere, to provide contrasting texture, shelving is backed by walls surfaced in white pebbles. He also jettisoned the standard-issue pharmacy counter in favor of a long dispensing table fabricated from Chinese fir supported by a base made from the trunk of a 100-year-old lychee tree. Overhead, an “urban forest” hangs from wires. “My aesthetic comes from approximating what is natural,” he notes.

Like half a strand of DNA, a staircase in copper-painted iron spirals through the 1,300 square feet to reach a mezzanine. Its floor is laser-cut with triangles, casting dappled shadows akin to sun filtered through leaves. —Jesse Dorris PROJECT TEAM: RICHARD KUO; KATE CHANG.

waterfrom design

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health/beauty retail

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KUOMIN LEE

Molecure Pharmacy, Taichung, Taiwan

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Continuum

Concrete + Diamond Dust Jewelry Collection konzukshop.com/sparkle

Inspira necklace + earrings

Rainbows, crystals, fireflies, those exhibitionists of the natural world, are exuberantly reimagined at this bookstore chain’s latest location, on the third story of a shiny office tower. From the street, the store first appears through the windows as a glimpse of soft rainbow colors. On closer inspection, the rainbow reveals itself to be a canopy constructed from layers of perforated aluminum powder-coated in gradated colors—the interplay between nature and artifice is central to the vision of principal Yu Ting. “We pushed that aesthetic to the extreme by choosing highly artificial materials as a contrast to what they symbolize,” Yu explains.

This canopy defines the area devoted to art and design books.

The largest of the themed sections, Yu named it the Xanadu of Rainbows. Color disappears in his Sanctuary of Crystal, where clear acrylic shelving displays the chain’s recommended titles. In a dark corridor, the Cave of Fireflies, fiber-optic cables represent bioluminescence while illuminating best-sellers.

The storytelling enchantment doesn’t come at the expense of functionality, however. Encouraging customers to spend time sitting on the stepped platforms and other perches throughout the 15,000 square feet effectively increases “dwell time,” as they say in retail circles. A well-known Western strategy, it’s now pervasive in China. —Casey Hall

wutopia lab

bookstore

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FROM TOP: CREATAR IMAGES; HU YIJIE

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FROM TOP: HU YIJIE; CREATAR IMAGES (2)

Zhongshuge, Suzhou, China

FROM TOP: HU YIJIE; CREATAR IMAGES (2)

FROM TOP: CREATAR IMAGES; HU YIJIE

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sales center

c&c design co.

PROJECT TEAM: XIE ZEKUN; MA YINGKANG; ZHENG JINXUAN; XU SHUXIN; GAO YINGYING; ZHU YUNFENG.

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HUANG ZAOHUI

At 22,000 square feet, the space displaying and selling residential models and units for a complex of buildings in Fujian Province is expansive. It’s also super chic. Credit for the latter goes to the luxe materials chosen by co-partner and design director Peng Zheng and his team: marble, steel, mirror glass, glass fiber–reinforced gypsum, and polyurethane paint, all, except for a corridor’s bronzed aluminum composite board panels, in either black or white. The graphic palette is rendered curving organic forms, and then set subtly aglow via concealed LED fixtures. “The project’s horizontal lines and carefully managed images,” Zheng explains, “were inspired by traditional Chinese landscape paintings and scrolls.”

White abounds, not just for its connotation of pure sophistication, but also as another nod to its prevalence in Asian art. “White space,” Zheng continues, helps give viewers pause. He intended the same with the center. “This space leaves something to the imagination of the visitors,” he says. Hopefully that imagination translates to selling transactions. —Edie Cohen

HUANG ZAOHUI

Sansheng Riverside International Sales Center, Fuzhou, China

HUANG ZAOHUI

HUANG ZAOHUI

“The graphic palette is rendered in curving organic forms”

DEC.17

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b e stofyear

showroom

baranowitz & goldberg architects and pitsou kedem architects Herbert, Herzliya, Israel Living in a luxury beachfront neighborhood on the Mediterranean Sea, near Tel Aviv, generally conjures up images of sunny days spent floating in the water before dancing the night away. Less known is the area’s industrial side, where this manufacturer of indoor-outdoor furniture and fireplaces is located.

The company’s products aim to offer practicality with a minimalist twist on raw materials, and this showroom is intended to do the same.

It was designed by Sigal Baranowitz and Irene Goldberg, who went out on their own after working together on projects for Pitsou Kedem’s firm, with which they collaborated on this space. The architects wrapped the showroom’s 1,900-square-foot interior entirely in concrete block, left unfinished. To improve the customer’s ability to imagine the wares in their eventual outdoor setting, some are displayed, like garden statuary, on platforms. There’s no blue sky overhead, of course. Instead, rows of rusted steel rods descend from the ceiling in addition to rising from the floor. They will continue to oxidize over time, reinforcing the idea of the showroom as a natural environment of sorts. —Zoe Kaplan BARANOWITZ & GOLDBERG ARCHITECTS: ADI PECKET. PITSOU KEDEM

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ARCHITECTS: ORLY AVRON ALKABES; GUY ITZHAKI.

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The Jacqueline Kennedy Onassis Reservoir, a body of water that stretches across Central Park, holds about 1 billion gallons, all of it contaminated. But just imagine boating across sparkling freshwater instead.

This astounding transformation could be achieved through a sustainable filtration system that’s part of a hypothetical proposal by founding principal Laith Sayigh. Of course, this being the tourist-friendly Big Apple, Sayigh conceived the treatment facility doubling as a magnet for tourists.

He calls it the Central Park Tower—here’s his vision: Prefabricated offsite, glue-laminated timber components are assembled as a 700-foot tall structure anchored by a precast concrete base and stabilized by tensile cables in the center of the reservoir. Accessible via a pedestrian bridge, the tower is formed by a densely configured helix that integrates the vertical-axis wind turbine necessary to provide electric power to filter the water. From the inside, where visitors walk up a ramp that spirals around the steel core, city views appear through the glue-lam exoskeleton.

At the top, a long observation platform offers panoramic vistas, while a glass oculus showcases the tower’s mechanics.

“It pushes the boundaries of what we perceive is possible in a city as dense, historic, and environmentally vulnerable as ours,” he says. We’re guessing Jackie would be proud. —Mark McMenamin

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lorcan o’herlihy architects Los Angeles

It’s about doing a lot more in the same amount of space. Lorcan O’Herlihy is hard at work rethinking design conventions in the City of Angels, as proved by his Best of Year winner in the Multiunit Residential category last time. “I don’t fear density,” he says.

“Small-lot subdivision is something that continues to intrigue people here.” His latest endeavor reinvents a local architectural signature: mid-century “dingbat” apartment buildings with cars below.

This five-unit building, 12,000 square feet in all, sits perpendicular to the street to make full use of a lot originally intended for just one house. “It’s an opportunity to work within the height restrictions and create density in a way that has a vibrancy, an inventiveness,” he explains. A warm color palette and floor-to-ceiling windows add spaciousness and depth. Aluminum and polycarbonate add visual substance.

Replacing traditional yard space in the front and back, individual roof decks emphasize what he calls “social connectivity” while celebrating the indoor-outdoor culture. The greatest hurdle was to convince the fire department to reassess its standards for closely positioned structures.

Groundbreaking is expected in the coming months. After completion, the prescient O’Herlihy expects more projects to adopt a denser design typology as part of the response to the need of alleviating the city’s current housing dilemma.

—Jeff Jablansky PROJECT TEAM: NICK HOPSON; NOELLE WHITE; BRIAN ADOLPH; CHRIS GASSAWAY; CAMERON OVERY; LEO YU.

b e stofyear

LORCAN O’HERLIHY ARCHITECTS

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Spring Place, New York

cannondesign and neuf architect(e)s Centre Hospitalier de l’Université de Montréal It’s not a bird. It’s not a plane. But the luminous sky bridge connecting the main building of this health-care complex to its logistics tower is indeed a supernatural apparition up in the air.

Bringing cohesiveness to the 3 millionsquare-foot complex was just the first challenge for CannonDesign principal Jose Silva and Neuf Architect(e)s partner Azad Chichmanian.

Convincing skeptical municipal officials to green-light the project was even trickier. The pitch: Transform what might have been a merely functional passage into a work of public art, with a nod to the local tradition of copper-clad architecture. “The bridge is the city’s new benchmark for pushing design ever higher,” Chichmanian says.

Guided by parametric design and 3-D printed models, metalworkers cut copper into 4-by-5foot sheets, perforated each one 194,000 times, and joined the results to form a curtain wall, ultimately supported by stainless-steel ribs. Sunlight spills through the piercings during the day. At night, when sensors activate two rows of linear LEDs tucked into the ceiling, the light show goes external. It’s symbolic as a welcome, given the hospital’s broader role of revitalizing neglected sectors of the city.

“It transforms a functional passage into a work of public art”

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TOP RIGHT: KARINE SAVARD; BOTTOM: ADRIEN WILLIAMS

—Mark McMenamin

DEC.17

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b e stofyear

TOP RIGHT: KARINE SAVARD; BOTTOM: ADRIEN WILLIAMS

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DEC.17

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DEC.17

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ACOUSTICAL CEILING APPLICATION

3form Clario

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BuzziSpace BuzziPleat

ACCESSORY

TN/MOS Liquid

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180

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DEC.17

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BATH FIXTURE

Stone Forest Calma

B E S T ofyear products

BATH ACCENT/HARDWARE

BATH CABINETRY

Brem

Kartell by Laufen Bathrooms

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Salvatori + Fantini Fontane Bianche

DEC.17

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DEC.17

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CONTRACT DESK

Tuohy Furniture Corporation

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CONTRACT POD

Koleksiyon Boccaporto

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DEC.17

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GREEN INNOVATION

RESIDENTIAL STORAGE

Formica Corporation

Juniper by Eric Brand

Tinted and Tonal Paper Terrazzo

J28

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Rottet Collection Dichroic

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Teknion Zones Enhancements DEC.17

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186

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Watermark Designs

Liebherr

Elements

HW8000 Wine Cabinet

DEC.17

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MARKETING AND BRANDING MATERIAL

Vanderbyl Design Design Does Matter: The True Measure of a Space Is How It Makes Us Feel for Teknion

CHANDELIER

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Artemide

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Yanzi

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SURFACING

Rich Brilliant Willing

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Hoist

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TASK LAMP

Pablo Designs for Haworth Corner Office

OUTDOOR LOUNGE FURNITURE

TABLE LAMP

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Foscarini

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Brown Jordan Outdoor Kitchens and Cosentino ASA-D2

OUTDOOR SEATING

Ralph Pucci International Amalfi

188

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DEC.17

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CONTRACT SOFA

Bernhardt Design CONTRACT LOUNGE CHAIR

Ibis

Studio TK Dual

CONTRACT MODULAR SEATING

SixInch North America Tapa

CONTRACT GUEST CHAIR

Allsteel Retreat

CONTRACT CONFERENCE CHAIR

Andreu World Flex

DEC.17

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products

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Fyrn Mariposa/Stemn Series

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DEC.17

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DEC.17

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INTERIOR DESIGN

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DEC.17

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HOSPITALITY FABRIC

Fil Doux Textiles

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Momentum Group

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DEC.17

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We believe in the adage “good design is good business,� and while others may choose a path of least resistance, we believe in better.

CONTENTS DECEMBER 2017

VOLUME 88 NUMBER 16

ON THE COVER The 2017 inductees Lidewij Edelkoort, Mark Zeff, Robin Klehr Avia, and Peter Q. Bohlin, and special honoree I.M. Pei. Photography: Erwin Olaf; Ivan Bideac; courtesy of Gensler; Nic Lehoux; Victor Orlewicz/Pei Cobb Freed & Partners Architects; Paul Godwin.

S10 HALL OF FAME MEMBERS S14 2017 PLANNING COMMITTEE S16 I.M. PEI

by Paul Goldberger 100 Reasons to Celebrate

The Hall of Fame gala has moved to the Javits Center, the perfect venue to toast I.M. Pei’s birthday.

S24 ROBIN KLEHR AVIA

by Edie Cohen

CLOCKWISE FROM TOP: COURTESY OF LI CHUNG PEI; COURTESY OF GENSLER; PAUL WARCHOL; GARRETT ROWLAND/GENSLER

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CLOCKWISE FROM TOP LEFT: JOSEPH MOLITOR; ERIC LAIGNEL; NIC LEHOUX; IVAN BIDEAC; ERWIN OLAF/LOUIS VUITTON/RIJKSMUSEUM; THOMAS STRAUB

S24 S16

CLOCKWISE FROM TOP: COURTESY OF LI CHUNG PEI; COURTESY OF GENSLER; PAUL WARCHOL; GARRETT ROWLAND/GENSLER

CLOCKWISE FROM TOP LEFT: JOSEPH MOLITOR; ERIC LAIGNEL; NIC LEHOUX; IVAN BIDEAC; ERWIN OLAF/LOUIS VUITTON AND THE RIJKSMUSEUM; THOMAS STRAUB

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S34 S46 S54 S34 PETER Q. BOHLIN

by Laura Fisher Kaiser

S46 M ARK ZEFF

by Jane Margolies

S54 L IDEWIJ EDELKOORT

by Jen Renzi

h a l l of fa m e33RD ANNUAL

11/14/17 2:10 PM

members Marvin B. Affrime Kalef Alaton Verda Alexander Davis Allen Anda Andrei Nada Andric Stephen Apking Pamela Babey Benjamin Baldwin Shigeru Ban Barbara Barry Florence Knoll Bassett Harry Bates Louis M.S. Beal Hagy Belzberg Ward Bennett Maria Bergson Deborah Berke Bruce Bierman Laura Bohn Joseph Braswell Robert Bray Don Brinkmann Tom Britt R. Scott Bromley Denise Scott Brown Mario Buatta Collin Burry Richard Carlson Arthur Casas Francois Catroux John Cetra Alexandra Champalimaud Steve Chase

S10

INTERIOR DESIGN

Tony Chi Antonio Citterio Clodagh Celeste Cooper Robert Currie Carl D’Aquino Barbara D’Arcy Joseph D’Urso Todd DeGarmo Neil Denari Thierry W. Despont Orlando Diaz-Azcuy Angelo Donghia Jamie Drake Jack Dunbar Tony Duquette Melvin Dwork David Easton Rand Elliott Henry End Mica Ertegun Dag Folger Ted Flato Gunter Fleitz Bernardo Fort-Brescia Billy W. Francis Neil Frankel Michael Gabellini Frank Gehry Arthur Gensler Richard Gluckman Mariette Himes Gomez Jacques Grange Michael Graves Bruce Gregga Charles Gwathmey Albert Hadley Victoria Hagan Anthony Hail Mel Hamilton Mark Hampton Antony Harbour Hugh Hardy Gisue Hariri Mojgan Hariri Steven Harris

Kitty Hawks David Hicks Edith Mansfield Hills Richard Himmel Howard Hirsch William Hodgins Malcolm Holzman Rossana Hu Peter Ippolito Franklin D. Israel Carolyn Iu Eva Jiricna Jed Johnson Patrick Jouin Vladimir Kagan Melanie Kahane Ronette King David Kleinberg Robert Kleinschmidt Ronald Krueck Tom Kundig David Lake Gary Lee Sarah Tomerlin Lee Naomi Leff Debra Lehman-Smith Joseph Lembo Lawrence Lerner Neville Lewis Sally Sirkin Lewis Christian Liaigre Piero Lissoni Nick Luzietti Eva Maddox Stephen Mallory Peter Marino Leo Marmol Paul Masi Ingo Maurer Patrick McConnell Margaret McCurry Zack McKown Kevin McNamara Richard Meier Robert Metzger Lee Mindel

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EBRA EL

YEARS

G5 TIN 0

C

wolfgordon.com

special honorees

members (continued) Francine Monaco Juan Montoya Paola Navone Lyndon Neri Frank Nicholson James Northcutt Jim Olson Primo Orpilla Mrs. Henry Parish, II John Pawson Gaetano Pesce Norman Pfeiffer Charles Pfister Warren Platner Donald D. Powell Gwynne Pugh William Pulgram Glenn Pushelberg Andrée Putman Ron Radziner Karim Rashid Chessy Rayner Lucien Rees-Roberts David Rockwell Lauren Rottet Nancy J. Ruddy Rita St. Clair John F. Saladino Lawrence Scarpa Michael Schaible Annabelle Selldorf Peter Shelton Betty Sherrill Robert Siegel Paul Siskin Ethel Smith

S12

INTERIOR DESIGN

William Sofield Laurinda Spear Jay Spectre Andre Staffelbach Philippe Starck Robert A.M. Stern Rysia Suchecka Takashi Sugimoto Lou Switzer Rose Tarlow Michael Taylor Roger P. Thomas Matteo Thun Stanley Tigerman Adam Tihany Calvin Tsao Billie Tsien Patricia Urquiola Michael Vanderbyl Carleton Varney Robert Venturi Lella Vignelli Massimo Vignelli Kenneth H. Walker Margo Grant Walsh Sally Walsh Kevin Walz Isay Weinfeld Gary Wheeler Clive Wilkinson Bunny Williams Tod Williams Trisha Wilson Vicente Wolf George Yabu Brad Zizmor

Robert O. Anderson Jaime Ardiles-Arce Stanley Barrows George Beylerian Howard Brandston Adele Chatfield-Taylor John L. Dowling Lester Dundes Cheryl S. Durst Sherman R. Emery Edward A. Feiner Karen Fisher Arnold Friedmann Alberto Paolo Gavasci Gensler Jeremiah Goodman Louis Oliver Gropp Olga Gueft Erwin Hauer Jack Hedrich Benjamin D. Holloway Philip E. Kelley Kips Bay Decorator Show House Jack Lenor Larsen Santo Loquasto Ruth K. Lynford Gene Moore Murray Moss Diantha Nype Sergio Palleroni Dianne Pilgrim Paige Rense Ian Schrager Julius Shulman Barry Sternlicht Tony Walton Kenneth Wampler Winterthur Museum and Gardens Andrea Woodner

DEC.17

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Bring an ordinary workspace to life.

haworth.com/collection

2017 planning committee Stephen Apking Design Partner, Skidmore, Owings & Merrill Robin Klehr Avia Regional Managing Principal, Gensler Dan Calkins President, Benjamin Moore & Co.

Randy W. Fiser Chief Executive Officer, American Society of Interior Designers Steve Gane President, Geiger & Herman Miller Collection Executive Vice President, Geiger & Herman Miller

James Cesario Regional Director, Knoll

Jack Ganley President, Mannington Commercial

Dan Chong President, Sales, HBF|HBF Textiles

Arthur Gensler Founder, Gensler

Ben Conway President, Halcon Vicki de Vuono Vice President, Creative, Interface Mike Donahue Vice President, Sales, Kimball James P. Druckman President & CEO, New York Design Center

Clifford Goldman President, Carnegie Ralph Grogan President & CEO, Bentley Matthew Haworth Chairman, Haworth Jerry Helling President, Bernhardt Design Erica Holborn President, Sandow

Jim Keane President & CEO, Steelcase Alexander P. Lamis Partner, Robert A.M. Stern Architects Susan Lyons President, Designex Maxine Mann President, Teknion US Tony Manzari President, Maharam Casey McNamara President, Napier + Joseph + McNamara Carl R. Milianta President, Arenson Richard Mines Principal, WB Wood Al Minite President, Siena USA Byron Morton Vice President, Leasing, NeoCon Produced by Vornado Realty Trust Ted Moudis Senior Principal, Ted Moudis Associates

Cheryl S. Durst Executive Vice President & CEO, International Interior Design Association

Teresa Humphrey Specifications Sales Manager, Wilsonart Engineering Surfaces

John Edelman Chief Executive Officer, Design Within Reach

Hal Hunnicutt Vice President, Marketing, Glen Raven Custom Fabrics

Primo Orpilla President, International Interior Design Association

Charisse Johnston Chair, American Society of Interior Designers

Tom Polucci Senior Principal, HOK

Royce Epstein Director, Design Segment, Mohawk Group Vernon Evenson Managing Partner, EvensonBest

Ron Kass President & CEO, Hunter Douglas

John “Ozzie” Nelson Jr. Chairman & Principal of Design, NELSON

David Rockwell Founder & President, Rockwell Group

Frederick J. Schmidt Corporate Interiors Global Practice Chair, Perkins+Will Branden Sieben President, Allsteel John Stephens Vice President, Marketing, Shaw Contract Amy Storek Vice President, North America A&D Sales, Herman Miller Jon Strassner Director, Workplace Strategies Mike Strohl President, Strohl & Company Chris Stulpin Senior Vice President of Design, Tarkett North America Dan Tuohy Chief Executive Officer, TUOHY Marc Valois Executive Vice President & Principal, Transwall Lindsey Ann Waldrep Vice President, Marketing Crossville Lisa Waxman Chair, Board of Directors, Council for Interior Design Accreditation Rick Wolf President, Wolf-Gordon George Yabu & Glenn Pushelberg Founding Principals, Yabu Pushelberg

thank you to our benefactors Arper Bentley Bernhardt Design Cambria Design Within Reach Designtex EvensonBest Gensler

S14

INTERIOR DESIGN

Gunlocke/Hon HDR Henricksen Herman Miller HOK Humanscale IOC USA Lane Office

Maharam Perkins+Will Rockwell Group Sandow Siena USA Studios Architecture Sunbrella Sunbrella Contract

Tarkett Tedeschi Ted Moudis Associates TPG Architecture Transwall Wolf-Gordon ZGF Architects

DEC.17

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www.andreuworld.com

Chicago New York San Francisco Washington, D.C.

Visit our showrooms

Nuez by Patricia Urquiola Reverse by Piergiorgio Cazzaniga d

100 reasons to celebrate

The Hall of Fame gala has moved to the Javits Center, the perfect venue to toast I.M. Pei’s birthday

text: paul goldberger

Top: The centenarian born as Ieoh Ming Pei when he was on an AIA tour of China, circa 1974.

Photography: Courtesy of Li Chung Pei. Center: I.M. Pei & Partners’s East Building of the National Gallery of Art in Washington, 1978. Photography: Ezra Stoller/Esto. Bottom: The building’s atrium.

Photography: John Nicolais/Architectural Archives of the University of Pennsylvania.

Opposite: Pei Cobb Freed & Partners Architects’s 1989 expansion of the Musée du Louvre in Paris.

Photography: Stéphane Couturier.

Journeying from Canton, now Guangzhou, where he was born in 1917, to the Massachusetts Institute of Technology in 1934, I.M. Pei expected that he would study architecture and engineering, return home to China, and build a career as an architect. It did not work out that way.

By the time Pei received his M.I.T. degree in 1939, the Japanese had invaded China, and his father, a banker, urged him to remain in the U.S. until the hostilities quieted down. He worked briefly for a Boston engineering firm before enrolling at the Harvard University Graduate School of Design. There, the Bauhaus-influenced approach of Walter Gropius turned Pei, for all intents and purposes, into a committed European modernist.

And that is what he seemed to be over the course of an extraordinary career as one of the world’s most esteemed architects, designing masterpieces ranging from the East Building of the National Gallery of Art in Washington to the glass pyramid at the Musée du Louvre in Paris, not to mention such admired housing complexes as Society Hill Towers in Philadelphia S16

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and Silver Towers and Kips Bay Plaza at home in New York. But it is not only the elegance of his crisply geometric buildings that distinguishes his work.

Just as striking is the remarkable institutional and commercial range that those projects represent. Real-estate developers, who would rarely seek out innovative architects in the days when he was building his career, have been as eager as museum boards, civic institutions, and governments to commission Pei buildings.

If he has always risen above the division between institutional and

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commercial architecture, his career is even more notable for transcending cultural divides. He never gave up his emotional connection to China despite becoming an American citizen when the Communist takeover followed World War II. That was 1955, the same year that he founded his first firm, I.M. Pei & Associates.

When the call came in 1978 to design the Fragrant Hill Hotel in Beijing, he accepted eagerly, though he then struggled to find a point of intersection between traditional Chinese architecture and the modernism he

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Opposite top: New York’s Jacob K. Javits Convention Center, 1986, by James Ingo Freed, then a partner at I.M. Pei & Partners. Photography: Thorney Lieberman. Opposite bottom: In Koka City, Japan, the suspension bridge that connects an entry tunnel to I.M. Pei Architect’s Miho Museum, 1997. Photography: Higashide Photo Studio.

Top, from left: As a teenager in China.

Visiting Italy as an adult. With Jacqueline Kennedy and Senator-elect Robert F. Kennedy, circa 1964, at a fund-raising celebration for Boston’s John F. Kennedy Presidential Library and Museum by I.M. Pei & Associates. Photography: Courtesy of Li Chung Pei. Bottom, from left: In Taichung, Taiwan, I.M. Pei & Associates’s Luce Memorial Chapel, 1963. Photography: Courtesy of Pei Cobb Freed & Partners Architects. In Hong Kong, Pei Cobb Freed’s Bank of China tower, 1989.

Photography: Paul Warchol.

“He never gave up his emotional connection to China despite becoming an American”

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Left: Beijing’s Fragrant Hill Hotel

by I.M. Pei & Partners, 1982. Photog­ raphy: Marc Riboud. Right, from top: Cleveland’s Rock and Roll Hall of Fame

by Pei Cobb Freed & Partners Archi­ tects, 1995. Photography: Timothy Hursley. In Shigaraki, Japan, the Miho Institute of Aesthetics chapel

by I.M. Pei Architect, 2012. Photog­ raphy: Higashide Photo Studio. With painter David Hockney, circa 1988.

Photog­raphy: Li Chung Pei.

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had practiced for his entire career.

He did at least convince the Chinese officials to accept a low structure, in a pastoral setting, rather than the Pei skyscraper they had envisioned.

Later, in Hong Kong, he would design a headquarters for the Bank of China, a trapezoidal tower that, while far less literal in its use of Chinese design elements, he would explain in terms of bamboo shooting upward.

He has never wanted to copy the past. Nothing affronts his sense of architecture more than the notion that the architect is a mimic. But as the years have gone on, his way of pushing the boundaries of modernism has increasingly become a quest for cultural integration.

His Four Seasons Hotel New York tries to replicate the spirit of the city’s classic skyscrapers in a new form.

In Japan, his structurally innovative Miho Museum merges elements of Asian architecture with crisp modern lines. To explain the building’s siting, he even offered a narrative based on an ancient Chinese tale. When the opportunity came to design the Museum of Islamic Art in Doha, Qatar, he studied Islamic architecture and, once again, worked to synthesize history with his own modernist sensibilities.

Pei’s life began a century ago, imbued with Chinese tradition, which he then set aside to become one of the world’s most celebrated adherents of the International Style. But it turns out that his modernism was not really Gropius’s. Pei never set out to design pure objects that could be put down anywhere. He wanted to make beautiful objects, and he did, but he wanted even more to make buildings that would resonate with the rest of culture and connect architecture to the spirit of place.

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h a l l of fa m e leadership

Robin Klehr Avia text: edie cohen

You might say her right brain and left brain are equally weighted. Trained as a designer, she’s now business-minded.

Or mostly: building and managing multiple teams, fostering design collaboration, interfacing with clients, strategizing. It’s what she was born to do, and she loves it.

Robin Klehr Avia, one of Gensler’s regional managing principals, traces her entrepreneurial streak back to her childhood in Verona, New Jersey. “On weekends, I was the kid with the lemonade stand,” she begins. “But I took painting classes, too.” She was also the one with two older brothers, always playing catch-up. An early Gensler mentor, Peter Brandt, then a director of the New York office, told her, “You’re good at bossing people around.”

She took it as a compliment.

To the inevitable question “Why Gensler?” she replies with the name of another mentor, Interior Design Hall of Fame member Margo Grant Walsh.

“I had interviewed elsewhere, but there I was, sitting across the table from Margo. She was the only woman, an interior designer working at an architecture firm, and she’d earned the respect of her colleagues.”

That was 1980, a few years after earning a bachelor’s of science in interior design from the University of Tennessee, and Avia became a Gensler junior designer, the 24th employee in the New York office. She laughs as she describes the early years: “We worked with triangles and lead pencils, so we wore black clothes. And we smoked in the office.” She used to bum cigarettes from Hall of Fame member

Top: Gensler’s regional managing principal for the Northeast, Canada, and Latin America.

Photography: courtesy of Gensler. Center: Cadillac House, 2016, by Gensler’s New York office. Photography: Eric Laignel/Gensler. Bottom: At that office, from the same year, 3-D printed lettering. Photography: Garrett Rowland/Gensler.

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“Avia is a vital force propelling Gensler’s exponential growth”

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Opposite: The Tower at PNC Plaza in Pittsburgh, 2016, by the Boston office. Photography: Connie Zhou/Gensler.

Top: Adidas, 2016, by the New York office. Photog­ raphy: Dtacke/Adidas.

Center: Condé Nast, 2015. Photography: Garrett Rowland/ Gensler. Bottom: The Dwight-Englewood School’s Hajjar STEM Center in New Jersey, 2015. Photography: Garrett Rowland/Gensler.

Don Brinkmann. Specs were typed in triplicate. There was no array of practice areas, only workplace.

For a major financial client, she attended project meetings with Art Gensler himself. “I was the kid in the room, taking notes,” she says. “What an opportunity.” Art Gensler, in turn, saw an up-and-comer who was “very smart, a hard worker, and committed to the profession,” he recalls today.

Eventually she thought, I could do this.

Her trajectory has taken her straight to the top. As one of the executive committee’s “gang of five”—with CEOs Andy Cohen and Diane Hoskins, COO Daniel Winey, and managing principal and board member Joseph Brancato—Avia is a vital force propelling the firm’s exponential growth.

Offices in the Northeast, Canada, and Latin America have all opened under her watch.

“Robin has a laser focus on talent and people, motivating them on game-changing, award-winning global projects,” Cohen comments. (Not to mention that she introduced him to his wife.) Hoskins adds, “With her extraordinary style and visceral understanding of design, Robin creates momentum, takes risks, and makes good on them.”

If leadership offers endless potential for learning, the corollary is the opportunity to teach the next generation. She advises designers never to get too comfortable with what they know how to do, to explore as many new fields possible. “At Gensler, we have experts on everything,” she points out. “Use these people.”

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Left, from top: New York Times, 2007; photography: Nic Lehoux/Gensler. Hudson River Trading, 2017, by the New York office; photography: Garrett Rowland/ Gensler. Right, from top: A rendering of the Ford Foundation in New York; image: courtesy of Gensler.

Capital One’s nearby lobby, 2015; photog­raphy: Garrett Rowland/Gensler.

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Congratulations to Robin Klehr Avia, FIIDA of Gensler on your induction into the Interior Design Hall of Fame.

We applaud your inspiring leadership and commitment to excellence!

h a l l of fa m e leadership Top: By the New York office, 1 World Commons at 1 World Trade Center, 2017.

Photography: Garrett Rowland/Gensler.

Bottom: By the Costa Rica office, a technology company in Heredia, 2016.

Photography: Andrés García Lachner/Gensler.

Her own thinking centers on problem-solving, bringing people together for a consensus of opinions, and embracing diversity. The consummate pragmatist. Simultaneously, she acknowledges the importance of instinct—and acts on it. Asked what really matters, she cites five concepts that uncoincidentally jibe with the Gensler ethos: work ethic, perseverance, promise, obligation, and legacy.

Apropos of legacy, she was instrumental in establishing the Gensler Diversity Scholarship, which benefits African-American architecture students.

Given the scope of her role, we can’t help but wonder whether she misses day-to-day designing. She gets her “fix,” she says, with one or two projects yearly. A recent endeavor, for the financial firm Hudson River Trading,

“Her thinking centers on problem-solving and embracing diversity” encompasses 69,000 square feet.

Most spaces are considerably larger, from the Ford Foundation at 415,000 to Condé Nast at 1,200,000. “I’m known as the million-square-foot person,” she states.

“She’s wonderful at client relations.

They love working with her,” Art Gensler says. He also credits that newcomer, 37 years ago, for evolving “to make the firm a better place.”

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Peter Q. Bohlin

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architecture

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text: laura fisher kaiser

Appearing at Bohlin Cywinski Jackson’s newly relocated Philadelphia office, Peter Q. Bohlin radiates an air of perpetual amusement. His quick blue eyes, nearly obscured by bushy brows, gaze with delight at the warehouse-style windows and mushroom columns, and he grins as colleagues gravitate over to update him on projects around the world.

The place has a collegial vibe, which the avuncular Bohlin has nurtured for more than 50 years, baking it into his designs.

A Zelig of the design world, Bohlin has garnered more than 650 awards. They include eight National Honor Awards and the Gold Medal from the AIA. And how many designers can say that, as a young upstart, they were featured in the New York Times Magazine or that they’ve been commissioned by both Steve Jobs and Bill Gates? “None!” Bohlin says with boyish disbelief.

The New York Times Magazine story, written by Paul Goldberger, was about Bohlin’s seminal Forest House, an exercise in low-cost high design. He built the Connecticut cedar cabin for his parents in 1975, but its huge industrial-style windows and eco aesthetic seem fresh enough to have alighted among the trees last week. If there were a genetic test for modernist residences, an awful lot of houses in the past 50 years would include a DNA match with Forest House.

His basic philosophy about “the making of a pleasant space” applies to all his work, from

“Bohlin’s seminal Forest House was an exercise in low-cost high design”

Opposite top: The principal of Bohlin Cywinski Jackson. Photography: Nic Lehoux. Opposite bottom: In Palo Alto, California, an Apple Store from 2013.

Photography: Hufton + Crow.

This page: A 1975 house for his parents in West Cornwall, Connecticut. Photography: Michael Thomas.

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“A lot of inspiration comes from noticing where the sun is”

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H A L L of FA M E architecture

H A L L of FA M E

a barn converted into a visitor center and offices, along with a new dormitory wing, at Frank Lloyd Wright’s Fallingwater in Mill Run, Pennsylvania, to Scranton’s William J. Nealon Federal Bldg. & U.S. Courthouse and Pixar Animation Studios in Emeryville, California. The most ubiquitous examples are some of the first locations of the Apple Store, each site-specific yet emanating the same welcoming warmth, with Alvar Aalto stools at Parsons tables.

Collaborating around a table is something Bohlin loves to do at the firm’s offices in San Francisco, Seattle, New York, and Pittsburgh as well as Philadelphia. He’s based in Wilkes-Barre, where he cofounded Bohlin & Powell in 1965. He had moved there as a boy before his father became president of Eberhard Faber—partly explaining the younger Bohlin’s pencil connoisseurship. He went on to earn degrees from Rensselaer Polytechnic Institute and the Cranbrook Academy of Art, where he was influenced by Eero Saarinen, Charles and Ray Eames, and Florence Knoll.

At 80, Bohlin is neither rumpled nor slick: gray flannels, a white button-down over an ocher T-shirt, a hardwood-root walking stick. A hand-tooled leather pocket protector holds a bouquet of colored pencils, a nerd accessory carried off with panache.

He’s still sketching, still making his mark with strokes at once bold and nuanced, as ideas flow from eye to paper. He’s happiest holding a red graphite pencil, ordered by the gross from Ito-Ya. Principal Ray Calabro recalls the snowy afternoon in Wyoming’s Grand Teton National Park when he and Bohlin scouted the site for what became their Craig Thomas Discovery & Visitor Center, then sketched on the hood of their car: “A lot of inspiration comes from noticing where the sun is, what the views are, where the wind blows.” Bohlin himself adds, “You have to listen hard, not just with your ears but with all your senses.”

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Opposite top: California’s Newport Beach Civic Center and Park, 2013. Opposite bottom: High Meadow at Fallingwater dormitory in Mill Run, Pennsylvania, 2016. Photography: Nic Lehoux.

Left: In Oahu, Hawaii, a 2009 art studio and private gallery. Photography: Nic Lehoux. Right, from top: New York’s second Apple Store, 2006; photography: Vincent Laforet. Pixar Animation Studios in Emeryville, California, 2000; photography: Sharon Risedorph.

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Top, from left: A library at Williams College in Williamstown, Massachusetts, 2014; photography: Peter Aaron/Otto. Shelly Ridge Girl Scout Center in Lafayette Hill, Pennsylvania, 1982; photography: courtesy of Bohlin Cywinski Jackson. Bottom, from left: The 1972 dining hall at Camp Louise in Shickshinny. In Wilkes-Barre, Coal Street Park’s pool and ice rink, 1976. Photography: Joseph Molitor.

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“Depth is a word that comes up often when people talk about him”

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“I have always been intrigued by how places are revealed”

Depth is a word that comes up often when people talk about him. But defining it is elusive, a task that requires hovering over every detail of his vast, diverse oeuvre. It might be faster to read his lyrical essay “Nature of Circumstance.” He writes, “I have always been intrigued by how places are revealed as we move from here to there—how a changing point of view can titillate and compel, how we are drawn from place to place. Our architecture is enriched by a fascination with the potency of beginnings and endings, whether of a journey or an object—the foot of a column, the end of a beam, or the edge of a wall that reveals its construction.” Wherever the journey takes him, Bohlin is in the details.

Left: Square headquarters in San Francisco, 2015. Photography: Matthew Millman. Right, from top: A University of Puget Sound health sciences center in Tacoma, Washington, 2011; photography: Benjamin Benschneider. In Moose, Wyoming, Grand Teton National Park’s Craig Thomas Discovery & Visitor Center, 2007; photography: Edward Riddell.

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Mark Zeff text: jane margolies

Top: The founder and president of Markzeff. Photography: Ivan Bideac. Bottom: A New York apartment, 2017.

Photography: Eric Laignel.

Growing up in Cape Town, Mark Zeff was a stellar athlete and, he admits, a mediocre student. Fortunately, the confidence he gained on the rugby field has served him well for a career in which he’s roved geographically and stylistically, orchestrating a staggering range of projects. He has designed hotel interiors, restaurants, bars, and spas as well as residences for the likes of Gabriel Byrne, Annie Leibovitz, and Hilary Swank. The full and varied portfolio of the firm now called Markzeff, based in Brooklyn, New York, also features collections of furniture, rugs, and bath fittings. Not bad for a kid whose Latin teacher called him the worst student he’d ever taught.

Zeff has furthermore expanded beyond the usual territory occupied by a successful designer to build an entire “lifestyle.” Convinced of the potentially widespread appeal of his family’s own blackpainted barn-inspired weekend house in East Hampton, he launched the Blackbarn brand, and other Blackbarn houses, which he designs and constructs in partnership with real-estate developers, are already sprouting around the Hamptons. The Markzeff studio’s ground-level space includes a Blackbarn shop chock-full of antique furnishings, vintage pieces, handmade wares, and art that he and his wife, Kristen, have brought back from trips around the world. Just opened at Manhattan’s Chelsea Market, a Blackbarn shop combined with a bar and a café is the official flagship. And it offers an inventory that, he promises, “You won’t find anywhere else.” That’s partly the result of trekking all over Europe, visiting old factories to develop proprietary cutlery and glassware.

Opposite top: In Austin, Texas, a guest room at the Hotel Van Zandt, 2015. Opposite bottom: Its restaurant, Geraldine’s. Photography: Eric Laignel.

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“I always have to be involved in lots of different things”

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Opposite top: The inspiration for the Blackbarn brand, Mark and Kristen Zeff’s weekend house in East Hampton, New York, 2014.

Opposite bottom: Blackbarn’s Brooklyn shop, 2016. Photography: Eric Laignel.

Top: The East Hampton house’s living room. Photography: Eric Laignel. Center top: Sold at Blackbarn, beaded bangles from Cameroon. Photography: Daniel Johnson. Center bottom: Black Barn, the New York restaurant, 2015. Photography: Eric Laignel.

Bottom: Its branding materials.

Photography: courtesy of Markzeff.

H A L L of FA M E design

In addition, he contributed the concept and interior design for the Black Barn restaurant in New York. “I have this impatient gene,” he says.

“I always have to be involved in lots of different things.” His restlessness revealed itself early. After toying with the idea of studying automotive design in California, he took off for London’s Chelsea College of Arts, where he earned a degree in environmental design, his creative side having firmly gained the upper hand. He then departed for Sydney, Australia, where he got a job at the prominent interiors firm Marsh Freedman Associates.

When he visited New York in 1982, he knew that’s where he belonged. “It was like London times 10. A lot of things were going on, and I could imagine myself in all of it,” he recalls.

He first got a job at WalkerGroup, eventually moving into the firm’s branding department to work on product lines. He hobnobbed with people in the art and fashion worlds and started moonlighting, designing showrooms and apartments. In 1985, he opened his own firm. By the early ’90’s, he was doing restaurants as well as residences.

Hotels came next, a good fit for an inveterate traveler with a global point of view.

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Left, from top: The Night Hotel in New York, 2007.

A conference room at the Hotel Van Zandt. Photography: Eric Laignel. Right, from top: Its branding materials; photography: courtesy of Markzeff. Reliquary Spa at the Hard Rock Hotel & Casino–Las Vegas, 2010; photography: Eric Laignel. Blackbarn skin-care products, 2017; photography: Nicole Horton.

“He has done multiple properties for existing hotel chains”

To date, he has completed 20 hotels, among them the Hard Rock Hotel & Casino–Las Vegas and the Hotel Van Zandt in Austin, Texas. An ultraluxury annex to the Adelphi Hotel, an 1877 landmark in Saratoga Springs, New York, is slated to open next year. He has done multiple properties for existing chains—notably the Kimpton Hotel & Restaurant Group, owner of the Van Zandt, and Virgin Hotels—and he’s collaborating with Hilton Hotels & Resorts to roll out a new brand, Canopy.

Beyond the hospitality realm, developers have tapped him to forge unique identities for New York apartment buildings.

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While he helps others to shape their brands, he remains laser-focused on his own. He sees it as the ultimate expression of his interests in architecture, interiors, furniture, and household goods, even skin-care products. A hotel is a possibility. Perhaps a manifestation of the competitive instinct developed as a young athlete, Blackbarn is Zeff’s latest sport, and he gets to make all the rules.

Left, from top: A New York town house, 2015; photography: Eric Laignel. Hotel Indigo Denver Downton, 2017; photography: courtesy of Hotel Indigo Denver Downtown.

Right, from top: Reception at the Hard Rock. A house in Southampton, New York, 2016. Photography: Eric Laignel.

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Lidewij Edelkoort text: jen renzi

The ancient Greeks had the Oracle of Delphi to divine the future. We have Lidewij Edelkoort, often known as Li. The Dutch visionary, one of the world’s most prescient and influential trend forecasters, has a supernatural ability to see what’s ahead in the sociocultural sphere, not only in interiors but also in consumer products, fashion, retail merchandising, and even flavor profiles.

FYI, the future will be tart and bitter.

“My intuition is continuously observing and archiving,” she explains. “What I do is rooted in the human psyche, like anthropology.”

One trend that she has both foreseen and fostered is hybridism: the interconnectivity of everything. In 2015, New York’s Parsons School of Design appointed her its dean of hybrid design studies, a cross-disciplinary program that she conceived as a way to promote interdepartmental synergies, and she will be inaugurating a graduate program for textiles next August. Parsons first contacted her after she published her provocative Anti_Fashion Manifesto, which advocated overhauling the entire industry “including education.”

She was certainly familiar with education, having directed the Design Academy Eindhoven in the Netherlands—nurturing talents such as Maarten Baas and Nacho Carbonell—and co-founded

Top: The founder of Trend Union and dean at New York’s Parsons School of Design. Photography: Erwin Olaf/Louis Vuitton and the Rijksmuseum. Center: An image from Bloom magazine, 2004.

Photography: Thomas Straub. Bottom: Talking Textiles, a magazine promoting New York Textile Month, 2017. Photog­ raphy: courtesy of Lidewij Edelkoort.

Opposite top: A Royal College of Art installation curated by Edelkoort for 2013’s Arnhem Fashion Biennale in the Netherlands. Photography: Gerrit Schreurs. Opposite bottom: From Trend Union’s General Trend Book, 2008, “Landscaping Interiors.” Pho­ tography: courtesy of Nanimarquina.

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the School of Form, west of Warsaw.

Edelkoort credits her creative vision to growing up in 1950’s Europe. “It was a poor period but full of hope. We had to make everything back then. I remember making toy records and a record player out of cardboard. It instilled imagination, which serves me well to this day.” Fate was sealed when she designed a carnival costume—a minidress with hot pants—that was honored in a newspaper competition. Jury members had just seen a similar design on the Paris runway and wondered how a provincial girl could be so plugged into the zeitgeist.

After that, she was encouraged to attend fashion school. While still a student at ArtEZ University of the Arts in Arnhem, she started working in a department store and was quickly made responsible for trend reporting. She then followed her heart to Paris, where she founded her forecasting firm, Trend Union, with friends in 1987. It was a propitious time. “This was when every industry became interested in tapping into consumer profiles and mentalities. We were one of the earliest collaborative efforts in fashion,” she notes. By now, Trend Union has worked for the Estée Lauder Companies, Shiseido Co., Calvin Klein Fragrances, Timberland, the Walt Disney Company, Mattel, the Whirlpool Corporation, and the province of Como, Italy.

Left, from top: From a Trend Union book, 2011, “Gift of Light”; photography: courtesy of Tara Donovan. An Edelkoortcurated installation by Borre Akkersdijk for 2013’s Arnhem Fashion Biennale; photography: Gerrit Schreurs. A handassembled Trend Union binder; photography: courtesy of Edelkoort.

Right: Rubelli Venezia textiles conceptualized by Edelkoort, 2012.

Photography: Sacha van Dorssen/ Rubelli Venezia.

Opposite top, from left: From View on Colour magazine, 1995; photography: Javier Vallhonrat. View on Colour, 1997; photography: Tyen. Opposite bottom, from left: Celebrating the reign of Queen Beatrix of the Netherlands, a 2010 plate

by Edelkoort; photography: courtesy of Edelkoort. From Bloom magazine, 2000; photography: Thomas Straub.

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Left, from top: From Bloom magazine, 2000; photography: Thomas Straub.

Paulina Matusiak’s logo for the school that Edelkoort co-founded in Pozna´n, Poland; photography: courtesy of Edelkoort. Right, from top: From View on Colour magazine, 2000; photography: Thomas Straub. Rubelli Venezia textiles conceptualized by Edelkoort; photog­ raphy: Marie Taillefer/Rubelli Venezia.

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STYLISH DESIGN MEETS LEGENDARY PERFORMANCE

The Sunbrella® Ventana Collection® of high-performance fabrics is available exclusively at The Shade Store®.

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Left, from top: “Open Ended: The Edelkoort Design Collection” at Dutch Design Week in Eindhoven, 2015; photography: Ruud Balk. Other pieces from the exhibition; Ruud Balk. Used for inspiration, Interview magazine's image of Marc Jacobs, 2008; photography: Todd Eberle. Right, from top: The Nissan Micra, 1992; photography: courtesy of Edelkoort. With Nacho Carbonell’s Pump It Up, part of the Design Academy Eindhoven’s “Family of Form” at Milan’s Salone Internazionale del Mobile, 2007; photography: courtesy of the Design Academy Eindhoven.

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BOTTOM CENTER: DAVID MALAN

Her first big hit was helping on a redesign of a small urban car for Nissan called the Micra in 1992.

“This was a time when cars were very streamlined and male,” she says. “I proposed a design that was all about softness, slowness, and a cuddling aspect, like a teddy bear.”

Micra was named Car of the Year by the European auto press. She adds with a laugh, “And I don’t even drive!”

More recently, she has fulfilled a longstanding ambition to curate on the world stage. She has organized exhibitions at the Museum of Contemporary Art Chicago and the Design Museum Holon near Tel Aviv, among others.

Many of the shows are on the topic of textiles, a medium she says she is intent on “bringing into the future.” For the same reason, she spearheaded New York Textile Month, now in its second year, and Talking Textiles, a magazine. “We are aiming at a new utopian vision bridging high tech and slow craft— Silicon Valley and Hudson Valley,” she says.

“I used to be afraid that I would not be able to understand younger generations as I got older. But my intuition has only become stronger,” she continues. Ultimately, Edelkoort considers her predictive capabilities a responsibility and a gift, one she doesn’t take for granted.

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thank you to the 33rd annual Hall of Fame sponsors

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podium sponsor

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JRM Construction Management congratulates our friend

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on her induction into the Interior Design Hall of Fame

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thank you for

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gift bags & table top décor Gift Bags by Sunbrella® Table Toppers by Sunbrella® Centerpieces by Sunbrella® and Ardwyn Decorative Trim

gift bag contributors Andreu World America Benjamin Moore & Co. Council for Interior Design Association Eastern Earthenware by clé ERNEST with Royal Botania, Delta Light & Renson Richard Frinier Design Group with The Alpha Workshops Gani Marble Tiles JoAnn Locktov for Bella Figura Communications Lacava LightArt Macro Consultants New Ravenna Mosaics New York’s Little Elves The Shade Store

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i 4 Mariani Celebrates 60 Years of Made in Italy Excellence.

New Designs and Reissued Favourites Keep Things Fresh.

In 1957, four brothers from Brianza began a small manufacturing business in the heart of Italy’s famed furniture region. That small outfit grew into i 4 Mariani, a multi-generational family business responsible for producing some of Italy’s finest and most elegant pieces for home and office. This year marks the company’s 60th anniversary, and to commemorate this important accomplishment the company debuts two new designs and two reissues of popular chairs. i 4 Mariani introduces two new lines: Planet and Garbo. Designed by Daniele Lo Scalzo Moscheri, Planet is an ergonomic armchair that draws inspiration from historical archetypes

in contemporary style. A round shell engenders a feeling of privacy, and soft upholstery encases the chair’s inside and out for a full feeling of comfort. The Garbo collection offers a range of office armchairs in executive, conference and low back options. The collection’s flexuous elegance is sure to find a home in any workplace. i 4 Mariani’s Marnie and Tucroma are two old favorites getting a reissue.

The Art Deco-inspired Marnie line, designed by Adam Tihany, offers an option to fully upholster the back of the sofas and armchairs. And finally, the classic Tucroma is returning with expanded customizable options for color and finishing.

i 4 Mariani has produced its renowned products for 60 years in the same facility, and its dedication to quality is as long-lived as its tenure in the 235,000-square foot factory. The brand realizes almost 100% of the production, from wooden and metal framework structures all the way up to upholstery application. i 4 Mariani’s artisans are skilled in the craft of leather-working, particularly saddle leather, and this has led to the company’s reputation as a provider of furnishings, seating, cabinets, and upholstered objects that stand the test of time. i4mariani.com

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design

annex

Donovan Lighting

Moda by Beaufurn

Donovan Lighting creates custom lighting fixtures for hospitality, retail, healthcare and residential settings. Pictured here are our pendant drum fixtures of powder coated steel with LED arrays and acrylic bottom diffusers. UL listed and Made in New York State! t. 607.256.3640 or visit donovanlighting.com

Introducing Moda, the elegant new modular lounge collection from Beaufurn.

As comfortable as it is beautiful, Moda has the flexibility to work in any seating environment, as it allows for a limitless combination of arrangements to suit your changing needs. t. 888.766.7706 or beaufurn.com

Buster + Punch

Global Furniture

A new year calls for a new renovation. Bold, unique and innovative, Buster + Punchâ&#x20AC;&#x2122;s daring HARDWARE collections stand out from the crowd. The hand-finished hardware is made from solid metal with diamond-cut knurled detailing. t. 818.392.3827 or visit trade.busterandpunch.us

River Personal Harbor - The perfect quiet harbor space to retreat, foster creative thinking and recharge. River Personal Harbor offers three back heights and coordinating laptop/tablet tables. Seating can be specified with power and USB outlets for mobile devices. t. 800.220.1900 or globalfurnituregroup.com

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Integra Seating

Acrovyn by Design®

The Valayo Collection receives Nightingale Gold Award at HCD.17 and a Best of NeoCon for its remarkable combination of striking design, superior strength and comfort. Features include wall-saver, clean-out, replaceable components, 2000 lb. capacity. Options include arm caps, benches, tables. t. 800.235.0234 or please visit us online at integraseating.com

Acrovyn by Design digitally embeds images and messages behind our PVC-free Acrovyn sheet to transform any commercial space with visual freedom. Let your imagination run wild and create amazing interiors that will remain beautiful even in high-traffic areas. t. 800.233.8493 or visit acrovynbydesign.com

Axolight

Flex Sofa & ConcreteWall by Resource Furniture

Fairy's crystal multifaceted diffuser creates an interesting play of light and has a transparent, amber and smoke grey finish. The frame is in chrome plated aluminum and the lamp is available in ceiling, suspension, wall or spotlight versions. t. 203.730.0452, info@axolightusa.com or axolightusa.com

Resource Furniture: customizable, space-transforming solutions for residential and contract interiors. FLEX SOFA: Luxurious, modular sofa system with moveable, repositionable backrests transform Flex from sofa to lounge to free-standing bed.

CONCRETEWALL: Unique, ultra- high-resolution, photographic, trompe l’oeil wallcovering – 60+ designs to choose from. t. 212.753.2039 or visit us online at resourcefurniture.com for more information.

Kimball

DXV

Pairings: A versatile lounge based collection designed to work alone or as components, Pairings adapts to changing work styles and shifting work postures while supporting the varying degrees of privacy in an era of open space engagement.

For more information, please call 800.482.1818 or visit kimball.com

Timeless and classic, with no expiration date. The curvaceous lines of the DXV St. George Freestanding Soaking Tub are a celebration of the past with a vivid nod to the now. t. 800.227.2734 or get inspired at DXV.com

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designannex Pratt & Larson Pratt & Larson manufactures custom handmade ceramic tile in Portland Oregon. Our highly flexible line consists of thousands of shapes, moldings and mosaic patterns including everything from classic to contemporary. Available in any standard or custom glaze color. t. 503.231.9464 prattandlarson.com

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

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

Fantini MilanoSlim Outdoor, designed

by Franco Sargiani, is a new freestanding outdoor shower system combining marine grade stainless steel and Burma teak.

Featuring a rainfall showerhead, body spray and hand shower set, the MilanoSlim Outdoor brings innovation to the outdoor shower. t. 212.308.8833 fantiniusa.com

Polished Nickel Maestro Round by Native Trails Our Maestro Round vessel sink combines generations of artisan tradition with state-of-the-art plating technology to bring you a sink that is as functional as it is beautiful. Maestro Round is crafted from recycled copper and is available in five finishes. t. 800.786.0862 or visit nativetrails.net

CL Sterling CL Sterling & Son manufactures a broad range of exquisitely designed lighting fixtures for both interior and exterior applications. The Rock Crystal Hanging Bowl is comprised of recycled crystal suspended from silk rope links. Custom sizes available. t. 860.739.2720 clsterling.com

Interstyle Creators of the original Modern Glass tile, Interstyle is an artisan-maker of architectural glass and ceramics. Mixing color, texture, shape and scale to make everyday spaces extraordinary. Don't see it? We'll make it. t. 800.667.1566 or order your free Colorbook at interstyleglass.com/colorbook

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Vesta Drapery Hardware

DeepStream Designs Custom Bins & Planters Integrate recycling into your environment with our modular trash & recycling bins. Slide-in panels coordinate with any design. Shown: OPUS 33 Trash Bin in Ipe Wood. Recycled Plastic, Stone, Metals and more. Planters and benches also available. Lifetime structural warranty. Please call 305.857.0466 or visit us online at DeepStreamDesign.com

Vesta's European Elegance Collection features numerous traditional and contemporary finial styles, premium brass materials, and six popular finishes. Visit our online showroom for a closer look at our entire line of diverse drapery hardware products. t. 800.638.3782 f. 864.225.0228 ivesta.com

Putnam Rolling Ladder

Roberto Cavalli Home Interiors Precious and impressive, the large B-52 dining table is the absolute protagonist of luxurious and exuberant environments. The sculptural base with animalier suggestions perfectly represents Roberto Cavalli’s style and is combined with the precious top in black lacquered glass. t. 212.339.3969, info@dzineny.com or visit us online at dzineny.com

Since 1905, Putnam Rolling Ladder Company has been manufacturing custom-made rolling ladders. The No.1 rolling ladder comes in several hard woods: oak, ash, birch, maple, cherry, mahogany, walnut and teak. 16 different stains are now available. Hardware comes in several styles including black, brass-plated, satin-nickel, pewter, copper, chrome-plated and many more. Putnam — since 1905. t. 212.226.5147 putnamrollingladder.com

Gianfranco Ferré Home

Hudson Valley Lighting® Hudson Valley Lighting® unites a profound sense of the past with the present to produce styles running the spectrum from historic to artisan and transitional to contemporary. Their heirloom collections boast fine detailing and finishes with a modern edge. t. 800.814.3993 or hudsonvalleylighting.com

A modern sofa with a unique charm, able to dominate the living with its distinctive style.

The pied de poule, timeless and undisputed symbol of elegance, meets the refinement of the special capitonné finishing with brass plates, in a furniture where the vintage elements acquire a new contemporary appeal. t. 212.339.3969 info@dzineny.com dzineny.com

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designannex

Bespoke

by Luigi Gentile Trust the experts at Bespoke to create the perfect furniture for your project. The â&#x20AC;&#x153;Madisonâ&#x20AC;? chair is just one example of the virtually endless line of High quality, Hand-Crafted, Custom made and designed furniture. t. 212.371.7107 BespokeByLG.com

Roppe Roppe Northern Timbers LVT complements many design styles adding texture and a natural element that is Made in the USA and fully recyclable. A subtly embossed surface adds aesthetic appeal while promoting an ease of maintenance. Please call 800.537.9527 or visit roppe.com

Bone Simple Design Bone Simple Design specializes in contemporary custom, hand-made-to-order lighting fixtures for commercial, retail, hospitality, and residential applications. We have a modern design aesthetic and work with a variety of materials. Shown here is our Hexagonal Cage Rope Pendant in three sizes. Almost any color can be specified. t. 212.627.0876 bonesimple.com

Sonoma Forge Brut Prep Faucet Joining the Brut kitchen faucet with pullout spray and our matching point-ofuse faucets is the new Brut prep faucet w/swivel spout, providing service and convenience to kitchen islands and wet bars. In Rustic Copper, Rustic Nickel, Satin Nickel and Oil Rubbed Bronze. Visit sonomaforge.com

Do it with Style Whether you go with the flow or make your own path, never sacrifice style. Take a break on Maglin's Chaise Lounge, the ultimate union of design and comfort. t. 800.716.5506 www.maglin.com

Pfeifer Studio Created for hospitality, our sculptural solid turned wood stool tables in easily customizable sizes, colors, and eco-friendly indoor and outdoor finishes, will make your project. Handmade in New Mexico and India, each is uniquely sturdy. t. 866.804.1909 or pfeiferstudio.com

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Lumens

Neo-Metro® Neo-Metro® Cast Resin Ebb Basins provide a colorful, sophisticated and truly customizable environment. Uniquely cast in translucent resin, ADA-compliant Ebb Basins are available in most colors and optional LED lighting, boasting an ambient glow that is bold and beautiful. t. 800.591.9050 or neo-metro.com

Designed by Michael Anastassiades for FLOS, the IC Lights S Pendant is a modern classic in the making. Find this at Lumens.com and become a Trade Partner to enjoy exclusive trade discounts, a dedicated account manager and support, free swatches and samples plus special trade offers and promotions. t. 877.875.3619 lumens.com/trade

Trinity Furniture

Powell & Bonnell The sleek racetrack silhouette of the Powell & Bonnell Derby ottoman is certain to be a runaway champ in any setting. The individually box quilted, button tufted seat set into a cantilevered plated steel frame offers maximum comfort and high style. A clear winner! Available in a variety of Powell and Bonnell metal finishes, textiles, leathers or COM/COL. Please visit powellandbonnell.com

Featuring a contemporary minimalist design and a surprising seating width of 24”, Swerve redefines comfort from a small footprint lounge chair. Models offered include swivel, self-return and stationary base options. All Trinity products are proudly made in the USA and certified: BIFMA Level Sustainability Standard. t. 855.311.6660 trinityfurniture.com

Troy Lighting

Stone Forest Wabi Vessel Sink

From stainless turnbuckles to thick, pressed glass shades, Citizen intertwines physics and engineering to form functional art. Citizen’s unique focal point is its pulley system, which powers and suspends an early electric LED light source. troy-lighting.com

Stone Forest Wabi Vessel Sink is carved from a solid piece of Purple Onyx. Stone Forest takes its lead from nature's blueprint with designs that bring the essential energy and beauty of natural materials into the kitchen & bath. t. 888.682.2987 or visit us online at stoneforest.com

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B+N INDUSTRIES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

ENDURATEX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

B+N INDUSTRIES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65

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BEAUFURN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 274

EVENTSCAPE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

BENJAMIN MOORE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . S44

FANTINI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 276

BENTLEY MILLS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . SC2–S1

FERGUSON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175

BERNHARDT DESIGN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4–5

FILZFELT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

BERNHARDT DESIGN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146–147

FORMICA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

BESPOKE BY LUIGI GENTILE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 278

FORMICA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125

BLU DOT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129

GANI MARBLE TILES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . SC3

BOKARA RUG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

GERVASONI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173

BONE SIMPLE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 278

GLOBAL FURNITURE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 274

BUSTER + PUNCH . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 274

GUARDIAN GLASS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123

BUZZISPACE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

HAWORTH . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . S13

CALIFORNIA FAUCETS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191

HIVE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8–9

CANCOS TILE & STONE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104

HUDSON VALLEY LIGHTING . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 277

CARNEGIE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . S29

I4 MARIANI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 271

CHEMETAL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

IIDA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 284

CL STERLING . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 276

INTEGRA SEATING . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 275

COLOUR & DESIGN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119

INTERFACE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . S21

CROSSVILLE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . S53

INTERIOR DESIGN BEST OF YEAR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 282

DATESWEISER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . S61

INTERIOR DESIGN HALL OF FAME THANK YOU . . . . . . . . . . . . . . . . . . . . . S62

DAVID EDWARD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 200

INTERIOR DESIGN HALL OF FAME THANK YOU . . . . . . . . . . . . . . . . . . . . . S64

DAVIS FURNITURE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161

INTERSTYLE GLASS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 276

DEEP STREAM DESIGNS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 277

JRM CONSTRUCTION MANAGEMENT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . S63

DESIGN WITHIN REACH . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2–3

KEILHAUER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99

DOM INTERIORS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191

KIMBALL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 275

DONOVAN LIGHTING . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 274

KIMBALL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . S41

DORNBRACHT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133

KINON SURFACE DESIGN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

Reply form available at www.interiordesign.net/readerservicecard This index is provided as a service. The publisher does not assume any liability for errors or omissions.

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KONZUK . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165

RESOURCE FURNITURE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 275

LACAVA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157

RICHARD FRINIER DESIGN STUDIOS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190

LIGHTART . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 192

RICHLOOM FABRICS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .75

LIGNE ROSET . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117

ROCKY MOUNTAIN HARDWARE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178

LLADRO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

ROHL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143

LUMENS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 279

ROPPE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 278

LUMICOR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190

SANDLER SEATING . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103

LUTRON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

SANTA & COLE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

LUXE SURFACES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

SCOTT GROUP STUDIO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . S51

MACRO CONSULTANTS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . S32

SHAW CONTRACT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79

MAGLIN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 278

SHERWIN WILLIAMS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141

MAHARAM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . C4

SLOAN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87

MANNINGTON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .SC4

SOELBERG INDUSTRIES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193

MATERIAL BANK . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . S22–S23

SONOMA FORGE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 278

MERCHANDISE MART NEOCON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . S42–S43

SPINNEYBECK . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

MODULARARTS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194

STONE FOREST . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 279

MODULARARTS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195

STRUCTURE TONE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 269

MOHAWK . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . S4–S5

SUN VALLEY BRONZE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

NATIONAL KITCHEN & BATH ASSOCIATION . . . . . . . . . . . . . . . . . . . . . . . . . 34

SUNBRELLA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12–13

NATIONAL OFFICE FURNITURE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171

SUNBRELLA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . S2–S3

NATIVE TRAILS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 276

SURYA RUGS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . C2–1

NEMO TILE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . S31

SYNCHRONICITY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

NEO-METRO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 279

TARKETT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56

NEW YORK DESIGN CENTER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . S33

THE SHADE STORE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . S59

NO. 8 LIGHTING . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273

TRI-KES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

NUCRAFT FURNITURE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . S8–S9

TRINITY FURNITURE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 279

PEDINI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139

TROY LIGHTING . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .279

PFEIFER STUDIO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 278

USONA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 199

PHILLIP JEFFRIES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . C3

VESTA DRAPERY HARDWARE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 277

POPPIN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105

VVA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 272

PORCELANOSA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149

WHITING & DAVIS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 276

POWELL & BONNELL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

WILLIAMS-SONOMA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

POWELL & BONNELL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 279

WOLF GORDON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . S11

PRATT & LARSON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 276

WOODARD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97

PUTNAM ROLLING LADDER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 277

WSP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . S45

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p.s.

win,

Most of us, I would imagine, respond to our share of life’s little defeats by taking comfort from one of the many philosophical salves we learned at our mother’s knee, resigning ourselves to a simple fact of life, “Win a few, lose a few.” The phrase is sister to the Spanish shrug to fate, “Que será, será.” There is also a Yiddish feel-good equivalent, a prophetic saying that, ironically, under no imaginable circumstance could possibly make a loser feel better: “Az es kumt tsonveytik fargest men kopveytik.” (“When a toothache comes, you forget your headache.”) And, of course, the short-andsweet French cold-shoulder response to bothersome troubles barely ruffles one’s Hermès scarf: “Tant pis,” literally translated as “so much the worse,” intended as a mild exclamation that can be construed as “oh well.”

Regardless of the abundance of expressions available to those who simply do not have—or wish to spend—the energy it usually takes to win and, in those tired moments of resignation, rely on the above expressions of ennui to simply dismiss the glove-slap in the face and proceed to have a cigarette or a Manhattan, there can be those rare, near-heroic moments when even the most even-keeled, self-satisfied couch potato cannot help but put up his dukes. What does it take to make one want to win when one would rather whine? Ego? Love? Pride? Ambi­ tion? Fear? Anger? All of the above? Whatever it might be, I believe that, if successfully provoked, the Mouse will Roar, David will Sling one at Goliath, and Tinker Bell will flit around, unstoppable, fully committed to getting us all to clap.

It was the end of the first day of the TED conference, 2002, which I was attending as a second-day Presenter, and I felt as if I had been giving blood to the Red Cross for hours and was now down to a pint. This conference would be the penultimate under the direction of Richard Saul Wurman, who had co-founded the series in 1984, and he was not about to let go of the reins prematurely. There were rules a Presenter had to adhere to or else, literally, be removed from the stage; these were conveyed to me orally by Richard at an initial breakfast meeting, face to face. One: NO NOTES. Two: “From the heart.” Three: Do something, say something, that you have never done or spoken of before. Direct command from Richard: “Risk!” Four: Get your ass off the stage within 18 minutes, or Richard, who sat right onstage during each presentation, would leap to his feet and physically walk you offstage, effectively to Oblivion.

Why did I feel I was down to a single pint of blood? One: I did have notes. Two: It was in front of the likes of Rupert Murdoch and Yo-Yo Ma that I was, “from the heart,” going to explain why I had gone into retail. WAS I INSANE? Three: I had never before been so prepared to articulate so well what my methodology was for. . .selling fruit bowls. YAWN. Four: Risk? Forget it! This was neither the time nor the place to “be me”! I was Nobody, about to address a room full of Card-Carrying Somebodies.

I knew that this was not going to fly. I went up to my room and had a panic attack. “Win a few, lose a few” was an aspirin, and I needed a Valium. Tomorrow, the Colosseum would be filled with Gladiators, and I was to be the Loser, to be entertainingly ripped limb from limb and then eaten by the Lion. I was toast.

No I wasn’t!

I didn’t want to be toast. I refused to be toast. And, in that moment, a saying came to mind: “You can’t fall off the floor.” I would win because Murray Nobody has nothing to lose. I could Risk away, because it was free.

Let Murdoch sweat. He would have good reason. But I could walk the rope without a safety net. In fact, why not?

Perhaps I would never have this opportunity again. I remember the feeling that overcame me when I tore up my notes.

It was: “Look who’s going over the Falls in a barrel! I will tell a story so seemingly remote from anything that has to do with Design, then bring it home in the last 15 seconds. I wanted to be the Dark Horse who, in the last lap, flew past the whole lot and finished First.

The next day, I leapt onto the stage. I was ecstatic. I was so vulnerable to failure that, as the minutes wore on, even Richard got nervous.

In just 16 minutes, I became an Athlete. I became an Artist. I sang a High C longer than Pavarotti. I stood on a Summit.

I Roared. I Slung at the audience my ambitions as if I were their equal—no, their Better. I Risked everything and put all my chips on Number One, me. It was transformative.

And, after a second’s gasp, the Somebodies, rising to their feet, created a thunder of applause so loud that even that Colosseum’s hungry lions cowered. —Murray Moss

lose,

or draw

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