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WELCOME TO THE MASTERWORKS ISSUE
MY MOM LOVED THE THRILL OF CHASING PERFECTION.
A craftswoman who put as much effort into designing miniature replicas of classic houses as she put into transforming old furniture finds into new masterpieces, she often said that anything worth having was worth the elbow grease it would take to make it shine. To her, creating was never about “good enough.” It was about leaning into the rough spots, problem-solving, and emerging with a meaningful result. At GRAY, we’re big fans of this approach. Whether it’s revealed in a stylish interior or in the subtle details of fine craftsmanship that stop us in our tracks, it’s this integrity we see in the work that comes across our desks each day that keeps us in the game. The global design community’s troubleshooting prowess was perhaps never better on display than in 2020, in the face of the pandemic. We saw a rise to action among creatives who designed ventilators and reworked airflow systems on airplanes. They presented solutions for indoor dining, mocked up hazmat suits for concertgoers, and even projected messages of love and support onto buildings. RAY Awards is a call for design with a capital D. Where form meets function, and where design makes life better. I’m eager for you to see the high caliber of work showcased by this year’s winning entries (page 66). The pursuit of perfection seen in each entry is a characteristic that unites our design community and we couldn’t be more thrilled to share the winners’ stories in our Masterworks Issue. Be sure to visit our website, graymag.com, to read about the finalists, our editors’ picks, and to watch GRAY Awards 2020: The Movie!. A digital celebration created in lieu of an in-person party, it features the winners’ reactions, judges’ comments, and a performance by the GRAY Band of designers. Thank you to everyone who entered, sponsored, partnered, or volunteered, and congratultions to all! __ Lastly, this issue marks the 9th birthday of GRAY, a magazine that would not be possible without the strong support of the design community, advertisers, sponsors who are truly wonderful partners, our subscribers, and incredibly talented and passionate staff and freelance team. I couldn’t be prouder of all that we have accomplished over the years, and look forward to many more to come. Cheers to elbow grease, and cheers to a Happy New Year!
Shawn
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Working in residential, retail, and hospitality, our studio is passionate about creating spaces that enhance our clients’ lives through quality and detail. We collaborate as a team to solve design challenges, while listening carefully to our clients throughout the entire process. As the exclusive Pacific Northwest dealer for SieMatic, a German luxury kitchen cabinetry and lifestyle brand, and as a dealer for Gaggenau appliances, Julien, Dornbracht, Silestone, Dekton, among other products, Summers Studio is able to provide a “one stop” full concierge service. Our studio can also fabricate many custom design elements including furniture, hardware, and countertops. su mmers.stu di o si ema ti c-sea ttle.co m
W A S GRAY H I N G T O N • O R E G O N • I D A H O • M O N T A N A • C A L I F O R N I A •
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THE MASTERWORKS ISSUE
DESIGN DNA
24 . S H E L T E R An art-loving couple with a penchant for neutral décor use their new home in São Paulo to display and build upon a growing collection of contemporary works. 32 . S H E L T E R Rooted in tradition, but thoroughly on point to the contemporary eye, a thoughtful use of form and space imbues this Tokyo residence with timeless distinction.
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36 . S H E L T E R One part calming and comfy, one part industrial, this vacation home in Lonavala, India merges his-andher styles with layers of furnishings. 42 . S H E L T E R Bold color combos and a few hidden surprises set the creative tone in a Seattle lakeside house built for a family of artists. 48 . O B J E C T S O F D E S I R E A collection of cozy furnishings for home, office, or home office.
54 . F I R S T L O O K Plaster artist Stephen Antonson’s cabinet knobs and drawer pulls for Nest Studio. 58 . C H A N G E M A K E R Outside-the-box thinking, from a man-made solution for dying coral reefs to using coffee grounds as building materials. 60 . G E N E S I S In a field dominated by white practitioners, what does it mean to create Black architecture?
on the cover
Inspired by popular midcentury conversation pits, the lounge in this Portland house by Osmose Design embraces color and texture, including velvet and shag carpet. Photographed by Dina Avila SEE PAGE 84
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68 . L E G A C Y A living legacy, Seattle architect Jim Olson is recognized as a respected and influential member of the design community. 72 . W I N N I N G P R O J E C T S GRAY Awards, our highest honors, is an international design competition recognizing exemplary projects in architecture, interiors, landscape, and product design.
106. J U D G E S GRAY Awards 2020 was judged by Niya Bascom, Anishka Clarke, Tom Dixon, Jeanne Gang, Mphethi M. Morojele, Guo Pei, Martha Schwartz, and Pierre Yovanovitch. We talked with each of them about their own portfolios, their outlook on design, and what’s on the horizon.
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121 . C O N T R A C T H I G H From Kiev to Los Angeles, beautifully designed hospitality projects. 130. T R A N S P O R T The first cross-border cable-car system will shuttle passengers between Russia and China in mere minutes.
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CONTRIBUTORS
BACKSTAGE PASS AMANDA ZURITA (“Tom Dixon,” page 108; “Pierre Yovanovitch,” page 118) is a freelance writer, editor, and photo stylist whose work has appeared in HERE, GRAY, and Departures, among other publications. LAUREN GALLOW (“Mphethi M. Morojele,” page 112; “Guo Pei,” page 114; “Martha Schwartz,” page 116) is a writer, editor, and marketing consultant working in the fields of architecture, art, and design. She holds a master’s degree in art and architectural history from UC Santa Barbara and is currently the editorial chair of design nonprofit Arcade.
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emar Matthews (“Defining a Black Aesthetic,” page 60) is a Los Angeles– based architectural designer, theorist, and writer. He is the founder and principal of OffTop Design and currently works with the A+D Museum in Los Angeles as curator/exhibitions associate. Born in Moreno Valley, California, Matthews received his bachelor’s degree from Lincoln University— the nation’s first degree-granting Historically Black College and University—and completed his Master of Architecture degree at Woodbury University, where he was awarded the Graduate Thesis Prize for his dissertation project, “Black Architecture: Unearthing the Black Aesthetic.” His introduction to the field was the writing of “A Black Architecture Education Experience,” an article for Architnect. Matthews
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RACHEL EGGERS (“Niya Bascom + Anishka Clarke,” page 106; “Jeanne Gang,” page 110) has worked in the arts and culture space for more than a decade and has written for GRAY since 2013. She is currently the associate director of public relations at the Seattle Art Museum.
believes that architecture and good design should not be only for the privileged, but that every community member deserves to be proud of the built environment around them, regardless of their income, race, and or gender.
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ARCHITECTURE + INTERIORS
The following design firms are among the best in the world, and are included here on an invite-only basis. We are proud to call them our partners. Consider them first for your next project. Learn more about each firm, visit graymag.com
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Baylis Architects baylisarchitects.com
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Eggleston | Farkas Architects eggfarkarch.com
Emerick Architects emerick-architects.com
GATH Interior Design gathinteriordesign.com
Guggenheim Architecture + Design Studio guggenheimstudio.com
H2D Architects h2darchitects.com
Hoedemaker Pfeiffer hoedemakerpfeiffer.com
Janof Architecture janofarchitecture.com
Minarik Architecture minarikarch.com
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skylab skylabarchitecture.com
Studio AM Architecture | Interiors studioamarchitects.com
Tyler Engle Architects tylerengle.com
Hoshide Wanzer Architects hw-architects.com
Hyde Evans Design hydeevansdesign.com
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SCOTT | EDWARDS ARCHITECTURE LLP seallp.com
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Stephenson Design Collective stephensoncollective.com
Works Progress Architecture worksarchitecture.net
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DESIGN DNA The concepts and creatives shaping our lives.
The Murphy bed in a Seattle home (page 42) reveals a wall clad with Élitis’ colorful Trinidad wallcovering, part of the company’s Libero collection.
S H EL TER STEPHEN KARLISCH
HO M E + O F F IC E F U R NIT U R E P E R SO NA L SP A C E S: HO M E INT E R IO R S B O T H SL E E K A ND C O Z Y W HA T IS B L A C K A R C HIT E C T U R E ?
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The predominantly gray-toned living room of this apartment in SĂŁo Paulo gets dashes of color from contemporary art. Designed by architect Diego Revollo for an art-collecting couple who prefer neutral shades for furniture and paint, the space is meant to feel like a gallery, in which the art commands the eye. The painting above the sofa is part of the Labirinto SintrĂłpico series by Janaina Mello Landini.
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In the formal dining room, an opulent chandelier designed by Paolo Rizzatto and Francisco Gomez Paz for Luceplan is a striking hanging centerpiece. Revollo chose a geometric felt sculpture from Ligne Roset to adorn the dining table between dinner parties.
GALLERY FORMAT
An art-loving couple with a penchant for neutral décor use their new home as an opportunity to display and build upon a growing collection of contemporary works.
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By Rachel Gallaher Photographed by Alain Brugier
ftentimes, when art figures into an interior design project, it takes center stage, with the arrangement of furniture revolving around the placement of a favorite painting or commissioned sculpture. But for one couple in São Paulo, the process of choosing pieces to adorn their walls and shelves didn’t begin until after most of their new home’s décor was already in place—an unexpected approach for active collectors with a dynamic involvement in the city’s rich arts scene. “They took advantage of the new apartment and the white walls,” says architect Diego Revollo, who led the remodel and decoration of the 5,400square-foot space. The couple, who love neutral
tones of white, beige, and gray, approached their new space much like a gallery, where architecture and furniture serve as a quiet backdrop for artworks that add splashes of color. “Once we bought all the furniture,” Revollo continues, “we started to study each wall and discuss the format [for the potential art]—whether it would be a canvas, sculpture, or photograph.” The apartment didn’t always look like a gallery, however. When the couple first viewed the space, it was dated, dark, and compartmentalized. “On our first visit, one of the things that the clients emphasized was the need to bring more natural light into the social area,” Revollo recalls. He suggested taking down a wall between a small, »
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A polished stainless-steel jamb defines the opening between the living and dining rooms. A black-and-white paper-and-fabric sculpture by Jimson Vilela rests atop a solid acrylic coffee table.
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In the living room, the social hub of the home, gray sofas from Micasa flank a set of coffee tables. A commissioned installation of five-dozen photographs by artist João Castilho hangs on the wall, providing some of the only color in the room. Decameron Design’s two-piece Stay sofa was custom-upholstered; the concrete Side Table B was designed by Konstantin Grcic for BD Barcelona Design.
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In the main bedroom, a dreamy palette of creams and grays reigns. The headboard, nightstands, and credenza were designed by Diego Revollo and built by Marcenaria Inovart. The lampshades are by Philippe Starck for Flos.
“Lovers of white and light tones, the clients never even thought of using color on the walls.” —DIEGO REVOLLO, DIEGO REVOLLO ARQUITETURA
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FROM LEFT: In the
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living room, Suíte Silente, a painting by Sergio Lucena, brings warmth with its pink tones, and the Retângulo wall sculpture by Túlio Pinto offers a study in harmony among materials. In the informal dining area, a solid acrylic sideboard from Diagonale and sheer curtains keep visual clutter to a minimum.
dim entryway and the living room in order to open up the public gathering space. Using solid cumaru wood (one of the most resilient woods native to Brazil), he created a rectangular entry alcove, its dark finish contrasting elegantly against the light tones throughout the living room. Sivec marble flooring (sourced through Itaarte), paired with two sleek, armless gray sofas from Micasa, adds to the gallery aesthetic, while a slatted stainlesssteel console table brings an industrial accent. On the east wall hangs a work by photographer João Castilho; its ovaloid-shaped arrangement of fivedozen variously colored photographs provides some of the room’s only color, along with a greenorange-and-pink acrylic sculpture by artist Carlos Cruz-Diez, which rests atop the coffee table. The neutral backdrop extends into the adjacent dining area, where cumaru flooring and white furniture, including eight Philippe Starck–designed Cassina dining chairs, allow a sparkling light fixture designed by Paolo Rizzatto and Francisco Gomez Paz for Luceplan to dominate the room. Revollo selected a geometric felt sculpture—originally created by the Bouroullec brothers for Ligne 30
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Roset as a wall sculpture—to adorn the tabletop. “Since the chandelier visually took up almost all the space above the table, we opted for this Ligne Roset piece because it is low, almost level with the table,” he explains. “It is [also] light and very easy to remove.” A simple, informal dining area off the kitchen features a custom table designed by Revollo and crafted by Marcenaria Inovart. Above the table hangs the white version of Flos’ Marcel Wanders– designed, dome-shaped Skygarden light. The sleek fixture’s interior offers an artful surprise: Its inner diffuser is lined with white-painted cast plaster with a delicate floral design that inspired the piece’s name. The couple’s bedroom, which pays homage to the art of tranquility, is a study in shades of white and gray. Devoid of art, the space is anchored by a bed with integrated side tables and, at its foot, a bench by Loja Érea. Layers of fabric, leather pillows, and a dove-gray velvet headboard add subtle texture, while a small, pillow-lined window nook offers an additional place to relax. His-and-her bathrooms— the former in masculine Imperial Brown marble from Itaarte and dark wood, the latter a spa-like retreat with white glass and stainless-steel accents— complete the private suite. Much like a successful gallery, the residence balances art and design, allowing the line between the two to overlap and blur, while giving the homeowners room to expand their collection—in other words, realizing the goal they entrusted Revollo with achieving: to create “a life project.” h
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DESIGN DNA
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ELEGANT SIMPLICITY
Rooted in tradition, but thoroughly on point to the contemporary eye, a thoughtful use of form and space imbues this Tokyo residence with timeless distinction. By Rachel Gallaher Photographed by Satoshi Shigeta
WORKING IN JAPAN FOR NEARLY 30 YEARS, GWENAEL NICOLAS, FOUNDER AND CHIEF DESIGNER OF TOKYOBASED MULTIDISCIPLINARY DESIGN STUDIO CURIOSITY INC., HAS EXPERIENCED A CREATIVE FREEDOM DEEPLY ROOTED IN THE TRADITIONAL JAPANESE AESTHETIC—
a style he tapped into for a recent project in the city’s Minato ward. Recruited to design the interiors of a sales unit for the Opus Arisugawa residences, Nicolas crafted a space imbued with a luxurious simplicity that celebrates his belief that “space is merely a canvas for the choreography of life.” Using a pared-down palette of oak, muted neutral colors, and minimal furnishings, Nicolas explored the idea of creating “selected views” throughout the home. “When you sit on a sofa or a chair, you see that an opening in the wall has been placed at the right height for you to see a tree- and stone-scape that you couldn’t see previously,” he 32
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explains. The space is not designed with an overt sense of drama, but on the contrary, Nicolas says, “with a sense of humble preciousness in a constant path of discovery.” This concept is best illustrated by a 33-footlong hallway that connects the home’s living and dining rooms with a private bedroom suite. The transition space—uplit on one side, with a wall of floor-to-ceiling mirrors lining the other side—ends with an antechamber, where a branchlike flower arrangement beckons from its perch on a low wooden bench. The bedroom, which features a low platform bed and ceiling adorned with oak-wood slats, exudes a sense of warmth and tranquility, with a cream-toned wallcovering by Nuno and an upholstered reading nook adding to Nicolas’ “textured minimalism” aesthetic. A striking black-andwhite screen made with Wajue’s washi paper opens to reveal a dressing area and closet; in the adjacent »
OPPOSITE: A cozy bedroom nook in one
of Tokyo’s Opus Arisugawa residences, with interiors by Curiosity Inc. The tray is by Kei Nishimura, the cups are by Hosai Matsubayashi, and all were made specifically for this project. THIS PAGE: The long hallway separating the home’s public and private spaces is lined with floor-to-ceiling mirrors on one side. Opposite them, door handles look like small sculptures suspended on the wall covered with white washi paper.
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ABOVE AND OPPOSITE: The centerpiece of the bedroom is a modest platform bed. Black-and-white sliding screens open to reveal a closet and
dressing room. The low, dark-wood bench is from Conde House, and the round stool behind the screen is from furniture-maker Oliver.
BELOW: Mirrored bathroom walls create the illusion that the dark ceramic vanity is twice its actual length. The water glasses are custom.
bathroom, walls of blond oak wood are punctuated by a weighty black ceramic vanity that, despite its heft, doesn’t overwhelm the room. In the main living area, a large, custom square sofa (its shape reminiscent of a tatami room) creates a sitting area that brings people face-to-face, encouraging conversations and deeper connections. Art casually leans against the walls, and nonessential furniture is kept to a minimum. Nicolas also proposed creating a series of everyday objects for the home, enlisting local artisans to craft items including tea sets, canisters, trays, and wine glasses. “To create a house or an apartment is a multilayer project that must involve all aspects of life,” he says. “All of the objects are based on a single shape, but made with different materials, from urushi (Japanese lacquer) to ceramic, metal mesh, wood, and copper.” The unit is a space rooted in tradition, not trend. “The Japanese aesthetic is based on the constructive quality of the space, objects, and furniture, and not the decorativeness,” Nicolas explains. Even so, the residence feels modern in its embrace of form and simplicity. It’s a nod to both the past and present, and a livable space that will maintain its relevance for decades to come. h 34
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“IN THE CREATION PROCESS, THE NOTIONS OF TRADITION, MODERNITY, AND STYLE ARE NEVER MENTIONED. THE APPROACH IS ABOUT HOW TO REDEFINE THE LIFESTYLE FROM THE NEW IDEAS OF HOW THE DESIGN WILL EVOLVE, WHAT NEW FURNITURE OR OBJECTS WOULD BE NECESSARY TO DEVELOP, WHAT WOULD DISAPPEAR, AND WHAT SHOULD BE CREATED.” —Gwenael Nicolas, Curiosity Inc.
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Sliding Spectrum One part calming and comfortable, one part dark and industrial, this family vacation home merges his-and-her styles with layers of spirited furnishings and fine art. By Lauren Mang Photographed by Ishita Sitwala Styled by Samir Wadekar
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ABOVE: Designed by Rohit Bhoite, this family home in Lonavala, India, is layered with masculine
materials, dark colors, and industrial details including textured-concrete walls, ceramic wall tiles, and ash-gray porcelain tile flooring. The leather sofa was custom-made locally, and the gold-topped tables, which bring elegance to the space, are from Classicon. Bhoite found the light fixture in a lighting boutique during a trip to China. OPPOSITE: Just off the living room, a piece by an unknown artist, picked up at an art market in China, hangs on the wall behind a custom dining table. The Hatsu rug adds subtle color.
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Floor-to-ceiling folding French doors from Deceuninck create a strong connection between the interiors and outdoor space. A pair of rattan chairs upholstered in blue fabric is an attention-grabbing addition to the room.
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A Hatsu console table with iridescent legs makes a statement against the industrial, gray wall tile (a collaboration between Diesel Living and Iris Ceramica). A piece sourced from an art market in China hangs on the wall.
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here are two main bedrooms in the four-bedroom Uday Villa, situated in the Sahyadris Mountains in Lonavala, India. Hers: a light and airy escape with subtly feminine touches, including walls of textured, soft-gray concrete and light-gray vitrified-glass tile, a cementboard ceiling with an ash-wood finish, and a four-poster bed enveloped in gauzy sheers. His: straightforward and minimal with an industrial edge from deep-tan hues, toughlooking aluminum-tile walls, polished-slate flooring, and a black cement-board ceiling. The rooms are situated at opposite ends of the home’s linear footprint, not to mention the design spectrum. “When we came to the master bedroom, the husband and his wife both had a different vision for that particular room,” says interior designer Rohit Bhoite of Mumbaibased Rohit Bhoite Design. “She requested very soft tones and cozy décor, and he requested a dark, grunge look, which [meant giving] them both a room reflecting their individualities.” The owners’ free-spirited, diverse personalities drove the remainder of the home’s design as well. The residence needed to be a tranquil, calming escape from hectic city life, but also a place that could accommodate, and be durable enough to withstand, frequent parties and the couple’s children. “[The client] came to me and said, ‘Make me a party pad that is nothing like my current home, but comfortable enough to come here with my kids, pets, family, and friends,’” Bhoite recalls. The space would also need to honor his preference for an industrial style, which the design team achieved with concrete walls and other masculine finishes that are softened by layers of linen, leather, brass, and earthy shades of blue and green. In the center of the home, the living and dining room—defined by a palette of light-gray textured-concrete walls, ceramic wall tile, and ash-gray porcelain tile flooring—open to the exterior on both sides via floor-to-ceiling, folding French doors. A handmade glass chandelier,
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discovered by Bhoite in a boutique lighting store in China, hangs from the soaring ceiling (18 feet at its highest point). “It was an instant hit with the homeowners,” he says. In the dining area, a solid wood tabletop rests on a clear glass base that preserves sightlines inside the house, as well as the view out to the pool. “It’s fondly known within the family as the floating table,” Bhoite says. The kids’ room sports a lively, geometric floor tile pattern and a color scheme of yellow, indigo, and tan. Custom-designed bunk beds with five feet between the top and bottom bunks allow plenty of room for playtime while ensuring that the bottom-bunk sleeper won’t hit their head, and a cloud-like chandelier hangs from the ceiling, balancing the room’s sharp angles with a bit of whimsical softness. One of the design team’s most significant challenges was maximizing natural light inside the house. “After trying multiple layout options, we decided to go very simple, with a linear plan that maximizes openings, so that you feel that you are sitting in the lap of nature,” Bhoite explains. Outside, small boulders found on-site were preserved and juxtaposed with leafy plantings. The pool, an obvious perk for the children, spans the entire length of the home and is visible even from the two main bedrooms at either end. A gazebo with a matte-black steel structure and glass roof provides unobstructed views of the mountains. An eclectic mix of artworks and furnishings provides unexpected finishing touches throughout the house, including a Hatsu console table with an iridescent finish, and two slim, rattan chairs upholstered with a blue fabric that offsets the living room’s muted wall color. “The homeowners and the whole family are free-spirited people who host a lot of get-togethers,” Bhoite says. “They are very well-traveled and have very fine design taste.” And in this house, there is something to inspire each one of them, no matter their favored style. h
CLOCKWISE FROM TOP: The wife requested soft, feminine dÊcor for her bedroom, and a custom four-poster bed fits the bill with its airy sheers; a large area rug features shades of red and tan that read as neutrals, and light-gray vitrified-glass tile on the wall (a collaboration between Diesel Living and Iris Ceramica) adds texture. The floor and walls of the guest bathroom’s shower received a bright-turquoise Indian Patent Stone finish (a mixture of cement, sand, and stone aggregates by Bharat Floorings). A bathroom wall is clad with gray-toned tiles from Wow Design; the granite sink is custom. A bright artwork hangs above a custom bed with a leather headboard.
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OPPOSITES ATTRACT
Bold color combos and a few hidden surprises set the creative tone in a lakefront house built for a family of artists. By Rachel Gallaher Photographed by John Granen and Stephen Karlisch
In the living room, a jewel-toned sofa veers from the stereotypical “Northwest neutral” color palette.
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bout a year into a residential project in Seattle, interior designer Beth Dotolo received an email from her client; in it was a link to an article about why the human brain is attracted to curvy architecture. The piece, citing studies from various universities and medical schools, posited that when it comes to design, people prefer curved shapes over sharp angles because the human brain, which has long associated sharp objects with danger, sees the former as less harmful. In other words, curves equal comfort. »
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DESIGN DNA
“THE OWNERS’ CREATIVITY AND CURIOSITY ARE AS MUCH THE FOUNDATION OF THE HOUSE AS CONCRETE, STEEL, AND GLASS. THE KEY TO BRINGING THIS OUT WAS A TRULY COLLABORATIVE PROCESS ON ALL SIDES.” —JOHN DEFOREST, DEFOREST ARCHITECTS
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“Curves evoke creativity and intelligence,” says Dotolo, principal and cofounder of Seattle- and Dallasbased Pulp Design Studios. “The clients are a family of artists and one of the things that they wanted was for the home to feel liberated.” By moving from a traditional home to a custom modern house designed by DeForest Architects (and built by Toth Construction), the clients experienced a major architectural style shift, but, per their request, have maintained a sense of creativity and warmth throughout their new home’s interiors. “This is where the curves come in,” Dotolo says, referring to the various furnishings and circular design elements layered into the home’s décor to balance the structure’s angular lines. Another client request was for pops of color in unexpected places (the pantry, plumbing fixtures, shelving in an office), which create a not-traditionally-Northwest palette that includes turquoise, tomato-red, and fuchsia. “There was a denial-and-reward concept in play,” Dotolo explains. “If you walk into a space where there is color everywhere, then you just get smacked in the face with it and there’s little reward. But if you peek around a corner and see a wash of color here or a pop of something there, you feel like there are all of these tucked-away surprises.” The lakefront house was designed to take in views of Mount Rainier in the distance; its boomerang-like shape features a bent floor plan with two slightly angled wings. “The owners knew that the kitchen and studio would be natural magnets for activity,” says John DeForest, principal and founder of DeForest Architects. “Instead of putting these spaces in the middle of the boomerang, we put one at each end to draw people and energy and creativity back and forth across the house naturally. The result is a house that is full of life without being overly formal or choreographed.” In the studio, or “everything room,” as Dotolo calls it (the clients wanted
LEFT: Around the
dining table, Theodore Alexander’s Lucille chairs continue the blue scheme with their new upholstery, and a SkLO glass-pendant chandelier adds an artful touch. BELOW: In the kitchen, where wood cabinets add warmth, the faucet gets a colorful upgrade. OPPOSITE: The clients, who both collect and make art, requested peek a boo pops of color around the house.
to use it as an art studio, workout area, guest room, and dining area for dinner parties), a Murphy bed—which folds down to reveal bold, purpleand-pink geometric wallpaper—is easily concealed by a sliding wood door made from repurposed berry crates. “Each board was handselected and laid out,” Dotolo recalls. “We needed a wood that would take thumbtacks, so that it could hold art.” In fact, it’s the rare spot in the home that doesn’t permanently display a painting or two. The homeowners
come from a family of creatively inclined individuals, and much of the art on their walls was made by relatives or picked up during international travels. Layered in with a mélange of textures, patterns, and, yes, color, the collection gives the home a sense of lived-in comfort, and a uniquely original style that reflects its residents. As the saying goes, in the end, everything comes full circle. h
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DESIGN DNA
FULLY FURNISHED
OBJECTS OF DESIRE
I T ’ S T I M E T O C O Z Y U P FO YOU COVER E D WITH A FE W O FOR YO UR HOME , OFFICE , OR By Lauren Mang
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1. Hémicycle armchair, designed by Philippe Nigro for Ligne Roset in partnership with the Mobilier National, an organization—supervised by the French Ministry of Culture—that promotes French design. 2. Block sconce in Calacatta Viola marble, by Stahl + Band. 2
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R W I N T E R, A ND WE ’VE GO T OF O U R FAVO RITE PIE CE S R H O M E O FF IC E. 3
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3. Chroma floor lamp by Arturo Erbsman for Roche Bobois. 4. Proto highback lounge by Nick Ross for Hightower. 5. The Fairfax chair in District Tobacco, by Kelly Wearstler. 6. The Le Refuge floor lamp by Marc Ange. 7. Le Club chair by Jean-Marie Massaud for Poliform. 8. *GRAY Awards 2020 finalist* Ribbed Desk by Kate Duncan.
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4 1. To form the chandelier installation Herbarium from Lasvit, molten glass is poured over dried flora, creating imprints on the surface of each component. 2.*GRAY Awards finalist* Michelle Dirkse’s area rug collection, featuring collaborations with artists Noel Fountain, Corrie LaVelle, Jennifer Gauthier, and Dana Mooney (shown: Mirror Black). 3. Mora accent swivel chair by Room & Board Business Interiors, sized for smaller spaces. 4. Moooi’s BFF Sofa by Marcel Wanders Studio, available at Inform Interiors.
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5. Black Tempal surface by Caesarstone. 6. White-oak side table, a collaboration between Lawson-Fenning and MQuan Studio. 7. Stackable Decade chair, Blu Dot’s first injectionmolded plastic chair. 8. Split cabinet from Primary Objects’ Studio Group by Henrybuilt. 9.*GRAY Awards finalist*Oxbend chair by Fernweh Woodworking.
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3 1. Neon Tube LED light by Hay. 2. Word table light by Dims. 3. *GRAY Awards finalist*Pandarine sofa designed by Inga Sempé for Hay. 4. The Two-Way side table by Élément de Base, available at MoMA Design Store. 5. Chair from L. Ercolani, available at Hive. h
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Landscape Design and Installation Architectural Planters for Commercial and Residential Applications 517 E Pike Street Seattle WA 98122 206.329.4737 www.ragenassociates.com GRAY
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FIRST LOOK
DESIGN DNA
“PLASTER HAS FAR MORE APPLICATIONS THAN WHAT IT’S CONVENTIONALLY USED FOR. WHY NOT MAKE HARDWARE FROM IT? PLASTER REALLY RELATES TO THE HUMAN HAND. I MAKE EVERYTHING I DESIGN IN MY STUDIO WITH MY HANDS, SO THE SCALE IS COMFORTABLE.” —STEPHEN ANTONSON, ARTIST
Pieces from the Pinch collection, a collaborative line from artist Stephen Antonson and Nest Studio. Consisting of six cast-brass knobs, pulls, and handles in different finishes (seen here in polished unlacquered brass), Pinch captures the organic quality of plaster in its raw form.
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CLOCKWISE FROM TOP:
The Pinch collection is available in four finishes, including polished nickel (shown here). Prototypes of the knobs, pulls, and handles were sculpted from plaster and used to make molds that are filled with molten brass. The resulting cast objects are then hand-finished. Artist Stephen Antonson sculpting a plaster mold in his studio.
PINCH PERFECT
Plaster artist Stephen Antonson takes a softer approach to hardware for his new collaboration with Nest Studio. By Rachel Gallaher
LAURA MOSS; KREG HOLT
THE PINCH COLLECTION—an
upcoming line from New Jersey hardware company Nest Studio— brings a playful edge to the traditionally utilitarian forms of cabinet knobs and drawer pulls. Launching in early October, Pinch is a collaboration between Nest Studio’s founder and creative director Jessica Davis and Brooklyn-based plaster artist Stephen Antonson. Comprising six functional, cast-brass knobs, pulls, and handles in four finish options
(matte white, blackened bronze, polished nickel, and polished unlacquered brass), Pinch came about from Antonson’s desire to experiment with form. “There’s a lot of great hardware, but most of it is serious,” he says. “I decided to relax and make something that is playful but sophisticated. I started by cutting up shapes—thinking of Matisse and his scissors: He just cuts into the paper and finds the shape. I tried paper. I tried aluminum foil. I tried tin. I tried
plaster gauze. I made a variety of organic shapes, molding the plaster to an intuitive form. After making dozens of iterations, I chose the few that felt the most ‘right.’” The Pinch collection is named for the final gesture Antonson makes with his hands when molding materials— the motion that gives each piece its organic, undulating form, transforming it into a miniature work of hand-sculpted art. h
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CHANGEMAKER
DESIGN DNA
MATERIAL MASTER
Using outside-the-box thinking and material experimentation, Objects and Ideograms takes a different approach to design. By Rachel Gallaher Photographed by Alex Schofield ALTHOUGH ALEX SCHOFIELD HAS ALWAYS BEEN CREATIVE, HE NEVER SAW HIMSELF DESIGNING HOUSES FOR FISH—UNTIL 2019. In August
of that year, a group of artists, designers, scientists, and architects from the California College of the Arts—where Schofield is an adjunct professor of architecture and a collaborator with the Architectural Ecologies Lab—launched the Buoyant Ecologies Float Lab, a project that tests solutions for enhancing marine habitats and alleviating coastal erosion. Deployed in San Francisco Bay and resembling a cross between an iceberg and two melting scoops of vanilla ice cream, the Float Lab is ecologically optimized both above and below water to provide habitats for different types of invertebrates. Hanging from its hull are four short columns, each made of three, 6-inch circular units of tunneled-out, 3D-printed calcium carbonate (the material that comprises the hard skeletons of coral). Computationally designed to provide refuge for small fish and other marine life, these fish houses are Schofield’s brainchild. “I was aware of what was happening in the oceans,” says Schofield, who launched his Oakland, Californiabased design workshop and lab, Objects and Ideograms, in early 2020. “I’d seen the headlines about the dying coral reefs and so I started to do research into what coral is made out of and why it’s having such a hard time surviving.” 58
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Schofield learned that coral is made of calcium carbonate and houses living organisms called polyps. Essentially, the polyps remove carbon dioxide from the water and turn it into hard skeletons (what we think of when we picture coral). Calcium carbonate is easy to use with a 3D printer, but Schofield soon realized that the solution to reef destruction isn’t simply 3D-printing new coral. “Me printing another skeleton isn’t helping,” he says. “Most successful coral reefs are successful because they have a super-diverse ecosystem.” This train of thought sparked the idea of creating habitats that would attract various species to declining coral reefs, promoting increased biodiversity. Ecology isn’t the only driver of Schofield’s passions. For him, the real magic lies in what things are made of. “It was a very circuitous path,” he says of his interest in materiality. After his high-school years, when he spent a lot of time painting, Schofield thought he wanted to pursue art, but took some time off, working odd jobs while he determined his direction. A stint in community college led to the discovery of architecture and the eventual transfer to the University of California, Berkeley, where he earned a Master of Architecture degree. As part of his 2015 thesis project, for which he received the Mario Ciampi Art in Architecture Award, Schofield studied the potential of coffee grounds as a building material. His interest in breaking down a substance to
its friable state (meaning it can be crumbled, pulverized, or reduced to powder by hand pressure), coupled with the realization that the coffee industry is a huge producer of waste, led to Coffee Bar, a curvaceous, 3-by6-foot form comprising 78 custom 3D-printed tiles made from reused coffee grounds, sugar, and sake. The tiles took about two weeks to print and assembly took about an hour. We aren’t building houses out of coffee yet—though Schofield has mused on this in his Caffeinated Architecture project—but it’s this kind of inventive thinking that has the potential to really move the needle on the future of design, especially on a planet that is experiencing dwindling resources and a buildup of waste. Schofield’s next venture examines mycelium—the vegetative part of a fungus, including mushrooms—and its potential as an ingredient of a building material similar to bricks. He’s also interested in continuing to develop and refine the calcium carbonate that makes up the fish houses. “It’s all about finding the sweet spot between projects that you’re interested in that can do good, versus projects that will help pay the bills,” he says with a laugh. “I’ve never been someone to create projects with the intent of getting rich. It’s important to value yourself and the work you do, but also to stay open to different opportunities and see where they go.” h
“I’M INTERESTED IN OBJECTS AND IDEAS, AND BY THAT, I MEAN FORM AND SPATIAL THINKING. BUT, ON A DEEPER LEVEL, IT GOES INTO THE QUESTION OF WHAT DOES IT ALL MEAN FOR US FROM THE PERSPECTIVE OF SOCIETY, CULTURE, AND ECONOMICS?”
—ALEX SCHOFIELD, FOUNDER, OBJECTS AND IDEOGRAMS
ABOVE: Schofield’s 3D-
printed calcium carbonate mimics the materiality of the hard, structural skeleton of coral, which houses living polyps. RIGHT: Caffeinated Architecture, a project from materials and design workshop Objects and Ideograms, explores the use of coffee grounds as an architectural material. BELOW: Coffee Bar, a product of Objects and Ideograms founder Alex Schofield’s master’s thesis project, examines the viability of coffee grounds as a design material.
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“How often are white people coming into Black neighborhoods to hang out and spend their money?” asks architectural designer, theorist, and writer Demar Matthews. “How often do Black people go into white areas and spend theirs? Why? This image speaks to the importance of hosting space.”
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ALL IMAGES COURTESY DEMAR MATTHEWS
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DEFINING A BLACK AESTHETIC
In a field dominated by white practitioners, what does it mean to create Black architecture? By Demar Matthews
A WHILE BACK, MY GIRLFRIEND, ELIZABETH, AND I WERE DRIVING BACK TO LOS ANGELES AFTER VISITING MY MOM IN MORENO VALLEY, CALIFORNIA. We were on
the 101 Freeway, about 50 miles away from home, when she spotted a small housing community. “Oh, my Godddd!” she cried out. “Look, it’s just like home!” Set back from the road was a group of vibrantly colored houses with an adjacent, bustling street market. It was a modest tableau, but it reminded my girlfriend of home. Elizabeth was born in Guanajuato, Mexico, and in this neighborhood on the east side of LA, she had noticed a small, discreet house that, through its architecture, reflected the predominantly Hispanic neighborhood in which it sat. For me, it was nothing special. Just another house in a city full of houses. But Elizabeth and I
“This image illustrates a very important detail on the porch [of a home],” Matthews explains. “There is a mirror on the ceiling that reflects royalthemed graphics painted on the ground. No matter how the world sees a person, as they walk in and out of their home each day, they will be forced to see themselves as royalty when they look up. Inspired by artist Kehinde Wiley, the graphics are intended to help reinforce positive self-perception.”
have been in other predominantly Hispanic communities around the city, and she says the same thing each time. I watch her face light up with pride as she looks at the buildings, storefronts, and markets that reflect her culture. Elizabeth identifies with the buildings and the neighborhoods. As we drove, I realized that I never feel that same sense of pride. Where was the architecture that spoke to my identity as a Black person? I feel most comfortable in an environment with people who look like me, which means a predominantly Black neighborhood. That is where I feel at home. For the first time, I analyzed the common elements that make up the built environment in LA’s historically Black neighborhoods, including Compton, South Central, and Watts: old buildings, graffiti, metal bars covering windows and
doors, chain-link and barbed-wire fences, and shrines to people who have been killed. This is where people play, grow, eat, and sleep. This is the background of their stories. But this is not an aesthetic that instills pride, nor does it reflect the lives and culture of Black people. So, where is the Black architecture? Is Black architecture even a thing? As I began to research these questions, I posed them to professors and architects, as well as to people not in the field. Their replies were similar: something along the lines of, “I don’t know.” My follow-up question is always the same: “What image pops into your head when you think of a Black neighborhood?” I watch their facial expressions grow increasingly uncomfortable before I give them an out by posing my last question: “Is it negative?” »
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GENESIS
FROM LEFT: “Black [people’s] hair is special,” Matthews says. “It does things that other hair can’t do. I want to celebrate it through architecture. I used a popular hair technique/ style for each design here and allowed its abstraction to become the architectural skin [that can be] attached to a building façade.” Matthews advocates using one property to provide as many resources to a community as possible.
The answer is always the same: “Yes.” Although there is not an architectural style that represents Black culture, there is a negative image associated with Black neighborhoods. Diving deeper, I found that often, the housing built for Black people has a negative impact on residents. In Spatializing Blackness, author Rashad Shabazz analyzed how carceral power within Black Chicagoans’ built environments shaped urban planning, housing policy, policing practices, gang formation, high incarceration rates, and health. “The children here are surrounded by wire mesh and fencing that make their living envi-
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ronment resemble the catwalks of a prison,” he writes. The abundance of security measures in these neighborhoods, and housing projects specifically, includes “policing, 24/7 video surveillance, perimeter patrols, apartment sweeps and curfews.” These oppressive systems made it seem “as if [residents] weren’t supposed to escape.” Shabazz proposes that such measures have radically transformed the built environment. Perhaps they, along with the overall lack of minority representation during the planning and design stages of the built environment, are at the root of this negative image of Black neighborhoods.
BLACK VARIANT A
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ABOVE: Matthews explores ways for Black communities to see themselves reflected in architecture.
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The institution of slavery stripped Africans of their culture in almost every way, including their building traditions. Most predominantly Black neighborhoods are, and always have been, designed by people who know nothing about our way of life. The outcome superimposes someone else’s culture, image of us, and perceptions of our needs onto our neighborhoods. Having the opportunity to develop this architecture ourselves would provide a way to carve our names into the built environments of our neighborhoods. It is also a method of development without displacement: It gives people a reason to stay put and reinvest in their own communities.
OPPOSITE: “The dances, postures, and fluid body movements of Black people are different than [those of] any other cultures,” Matthews says. “How do we approach very Eurocentric design and structure to make them represent us? This is inspired by [late artist] Ernie Barnes’ painting The Sugar Shack.”
“SO, WHERE IS THE BLACK ARCHITECTURE? IS BLACK ARCHITECTURE EVEN A THING? AS I BEGAN TO RESEARCH THESE QUESTIONS, I POSED THEM TO PROFESSORS AND ARCHITECTS, AS WELL AS TO PEOPLE NOT IN THE FIELD. THEIR REPLIES WERE SIMILAR: SOMETHING ALONG THE LINES OF, ‘I DON’T KNOW.’” —DEMAR MATTHEWS ffTop is the design studio I founded this past April with the aim of employing architecture and design to improve the built environment in Black neighborhoods, using a comprehensive and collaborative method that draws on strong relationships with local communities and a deep understanding of their issues. “Unearthing a Black Aesthetic” is a case study consisting of nine homes that will be built in Black neighborhoods across the United States. I’m hoping to work with young Black architects, artists, writers, philosophers, developers, and anyone else who can contribute to this conversation to begin defining a Black architecture, as this is by no means something that can be solved independently or unilaterally. Through the study, I’m looking to continue the work of Black architects before me, who asked these same questions about Black architecture, and to continue the development of an architectural language that derives purely from Black culture: design, dance, music, art, literature, fashion, traditions, values, and experience. Drawing from these resources will allow Black people to finally see their likenesses reflected by the buildings that surround them. The first of the case study homes, which is currently in the fundraising phase, will break ground in the LA neighborhood of Watts, hopefully in early 2021 (a GoFundMe page is accepting donations from the public). The project is a collaboration with a Black homeowner whose family has lived in Watts for generations, and who has agreed to work with me to build an accessory dwelling unit on her property that will serve as an
artist residence and makerspace. When speaking about her goal for the space, the homeowner expressed her desire to create synergy with her community, and to provide resources for everyone from local children to artists to home cooks. To that end, we’ve designed an interactive art walk along the property’s 256-footlong fence line that includes canvases on which local artists can display quarterly exhibitions, a free outdoor library for the community, and a hanging garden with free fruits, vegetables, spices, and seeds, as well as pamphlets that provide growing instructions. In these ways, “Unearthing a Black Aesthetic” is a collaboration with
each project’s community, and we continue to speak with them about the approach to this new aesthetic that will be for us and by us. Our goal is for Black communities around the country to rebuild themselves— to take control of our image in architecture, to take control of the perception of our neighborhoods, and to elevate and celebrate Black life and culture. Join us. h Demar Matthews is a Los Angeles–based architectural designer, theorist, and writer. He is the founder and principal of OffTop Design and currently works with the A+D Museum in Los Angeles as curator/ exhibitions associate.
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AIA National Housing Award, 2020
Architect: MW Works Builder: Dovetail Photo: Kevin Scott
G R AY AWA R DS, OU R H IGH E ST H ONOR S , I S TH E IN TE R NATIONAL D ES I GN COMP E TITION T O WIN. AM ONG H U N DR E DS OF E N TR IE S, O N LY ELE VE N R E C E IVE T H E PR EST I GIOU S DE SIGNATION. Visit our website to read about the finalists, editors’ picks, and trophy designer, the esteemed glass artist John Hogan, and to watch GRAY Awards 2020: The Movie! featuring the designers’ reactions to winning, judges comments, and the GRAY Band of Designers performance.
THANK YOU TO OUR SPONSORS AND PARTNERS
TITLE SPONSOR
MASTERWORKS The showstopping winners and celebrated judges of the GRAY Awards 2020.
AND TH E WINNER S AR E ....
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LEGACY
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JIM OLSON
As a nod to the region in which the magazine was founded, GRAY presents the inaugural Legacy Award, a recognition to honor a respected and influential member of the Pacific Northwest design community.
ARCHITECT JIM OLSON’S WORK EXEMPLIFIES EVERYTHING PACIFIC NORTHWEST DESIGN IS KNOWN FOR: CREATIVITY, INNOVATION, SUSTAINABILITY, AND CRAFTSMANSHIP. Recognized
primarily for his work on residential projects, Olson—a founding principal of Seattle design firm Olson Kundig and a Washington native—has spent more than 60 years honing his craft, shaping the aesthetic of Northwest regionalism, and influencing generations of architects in both style and approach. “Our landscape in the Northwest is so beautiful that I feel that architecture should just weave into it and be a part of it rather than trying to stand out or stand alone,” he says. “Nature can look chaotic, and with architecture I like to try and hold
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together and frame it from inside in a way that helps you focus on a specific view.” Olson started his architecture career at the age of 18, when his father asked him to build a small sleeping cabin on land already occupied by the family’s summer house in Longbranch, Washington. The project, which Olson still cites as one of the most important in his career, became an aesthetic touchstone for his future work. In 1967, he founded Olson/Walker Architects, and although the partners (and the name) have changed over the years, the firm has stood solidly on its foundational principle of integrity in architecture and craftsmanship, expanding to become one of the most influential and award-winning design firms in the world.
Aside from nature, Olson is inspired by art, and is often tapped to design houses around impressive collections across the globe. In addition, he has worked on commercial projects including the Jordan Schnitzer Museum of Art at Washington State University in Pullman, Washington, the Gethsemane Lutheran Church in Seattle, and the JW Marriott Los Cabos Beach Resort & Spa in San José del Cabo, Mexico. “I think that architecture is about living on the earth,” Olson says. “Birds have their nests, bees have their hives, and people have buildings. We need them to survive, and it’s important to hone that art of living. With every new project, I still get so excited to start. It’s energizing and invigorating. I’m always asking, ‘What are we going to come up with next?’” »
KYLE JOHNSON; KEVIN SCOTT/OLSON KUNDIG; AARON LEITZ; TIM BIES / OLSON KUNDIG
By Rachel Gallaher
CLOCKWISE FROM TOP: The Olson family cabin in Longbranch, Washington. Foss Waterway Seaport building in Tacoma,
Washington. City Cabin in Seattle. The Lightcatcher building at the Whatcom Museum in Bellingham, Washington. A young Jim Olson at the cabin in Longbranch. OPPOSITE: Architect Jim Olson, a founding partner of design studio Olson Kundig, has influenced the Pacific Northwest design aesthetic more than almost any other living architect in the region.
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LEGACY
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“MY DAD TOLD ME WHEN I WAS YOUNG THAT IF YOU CAN MAKE A CAREER OUT OF SOMETHING THAT YOU’D LIKE TO HAVE AS A HOBBY, THEN YOU’LL ALWAYS BE HAPPY. I DON’T THINK I REALIZED AT THE TIME HOW IMPORTANT THAT WAS.”
Kirkland Museum of Fine and Decorative Art in Denver.
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ALEX FRADKIN
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northeast coast of the Newfoundland and Labrador province of Canada— this concise, modern outbuilding (used for wood storage and as a dining space) is the newest addition to the Fogo Island Inn, a project that began in 2013. Designed by Todd Saunders of Norwegian design firm Saunders Architecture, the series of buildings was commissioned by Shorefast, a charity established in 2003 to revitalize Fogo Island’s economy. “Throughout this ongoing project, architectural inspiration has been drawn from the vernacular forms of the region’s traditional fisherman’s huts and houses,” Saunders Architecture writes in its submission. “Whether anchored to the land or set on stilts above the shoreline, the hut is a fundamental part of [the island’s] heritage. The Fogo Island Shed builds on this tradition.” Designed and built in just six months, the shed takes a local archetype—the traditional pitched-
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roof house—and pares back the form, using a combination of old and new materials and construction techniques to achieve a balanced geometric simplicity. The dining space is housed in a rectangular form that intersects with a covered entrance with a steep mono-pitched roof that flares open at each end, framing views of the island and the seascape. The shed’s lack of electricity, the firm writes, is “a deliberate throwback to a simpler age that has the effect of focusing the mind and increasing the awareness of the seasons, the light, and even the flavor of the food.” The space is lit instead by kerosene lamps, and food is cooked over a stove or open fire. Located just a short walk from the main building of the Fogo Island Inn, the shed encourages guests to explore and connect with the landscape, while its striking angles and form prove that high-caliber design can work in the most remote locales. h
PR OJ ECT DET AILS DESIGN TEAM Todd Saunders Attila Béres COLLABORATORS Kingman Brewster and Dihua Wei Rodney Osmond Shorefast LOCATION Fogo Island, Newfoundland and Labrador, Canada DATE OF COMPLETION July 2018
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it was essential to them that the structure would leave as small of an environmental footprint as possible. The creative duo—a blacksmith and a wildlife writer and photographer— wanted to be able to house visitors and also to use the space as a quiet retreat for writing. Their design team, which consisted of landscape architecture firm Berger Partnership, architect Cassie Hillman Picard, and the architecture firm Miller Hull Partnership, worked together to create an unassuming form—a simple concrete cabin tucked underneath an earthen berm—set on a high bluff overlooking Puget Sound. “As lifelong conservationists and lovers of the outdoors, the owners’ deep commitment to sustainability called for creating a retreat with a small footprint for year-round indoor/outdoor living,” the Berger
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Partnership writes in its submission. “Their vision was to create a space that feels as if it grew out of the site. It was imperative that the construction tread lightly, with minimal impact to the natural habitat.” Set just below the ground plane, the foundation avoids tree root zones, and construction activity preserved every single surrounding tree. In order to blend seamlessly with its surroundings, the retreat is cloaked in fescue grass, sword fern, and a living roof that, as the Berger Partnership writes, “appears to be in the process of being reclaimed by nature. Smoke wafting from the hidden chimney and the interior glow emanating through the windows hint at the comfortable, welcoming shelter inside.” The interior palette consists almost entirely of hemlock (with elements of Douglas fir), which was whitewashed to create a sense of spaciousness, warmth, and brightness. h
PR OJ ECT DET AILS DESIGN TEAM Shannon Leslie Jonathan Morley Cassie Hillman Picard Miller Hull Partnership COLLABORATORS Kamera and Gilles Carpentry Julie Smith Lubke Brian Hood Lighting Design Pacific Landscapes of Whidbey LOCATION Whidbey Island, Washington, United States DATE OF COMPLETION January 2019
KEVIN SCOTT
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its-kind, immersive, tech-forward wellness space—Seattle architecture firm Mithun sought to create a balanced, tranquil escape. Embracing app culture, Sanctuary Studios allows guests to pre-book a space for yoga, sound healing, or meditation, and each wood-floored studio is equipped with climate control and digital content that enable guests to customize their sessions according to comfort, mood, and health goals. A 14-foot-wide video wall and enveloping audio system transport each studio to a stunning location—from Mexico to Morocco and beyond. “We sought to create a rich and immersive experience that allows each guest to transport themselves from their daily environment to some of the most beautiful places in the world,” notes Sanctuary Studios founder Robert Martin. “Once you’ve set up your experience through the app and walk into the studio, we
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want the technology that underpins the experience to melt away.” Guests ascend a staircase painted the light-pink hue of Himalayan salt, then enter a lobby with terra-cottacolored walls and low lighting intended to greet them, as the client requested, “like a hug.” The rich warmth of the space is enhanced by “custom ceiling details with integrated lighting,” the Mithun team writes in its entry, while “colored-plaster walls create textural interest within the compact space. Sustainable oak was used for the docent desk and a sculptural wood ceiling feature, adding warmth, texture, and an intimate scale to the space. Brass details add a luxe element to the palette.” Natural light and views were intentionally omitted to further distance clients from the outside world and to create a fully immersive experience. Details such as a tea station with handmade ceramic mugs, large mirrors, and ample countertops ensure ease and convenience throughout the entire visit. h
PR OJ ECT DET AILS DESIGN TEAM Lisa Scribante, AIA Elizabeth Gordon Crystal Loya, AIA Katelyn Koch Alison Hefely COLLABORATORS A3 Acoustics SparkLab ROICH Structural Chiado LLC Hive General Contractors LOCATION Seattle, Washington, United States DATE OF COMPLETION October 2019
LAUREN SEGAL
PRESENTED WITH THE CHALLENGE OF TRANSFORMING A 1920S-ERA FORMER WAREHOUSE INTO SANCTUARY STUDIOS—a first-of-
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interior designer Andee Hess upped the ante when decorating the interiors of this Portland home. Using custom pieces and piling on extra-saturated colors and luxe textures, Hess, the founder of Osmose Design, created a unique family dwelling that captures the glam-but-not-too-serious vibe of the disco era. “The clients are an adventurous, entrepreneurial couple,” Hess notes in her entry. “The design aimed to create a series of intimate installations layered with bespoke furniture, lighting, and artist collaborations.” According to Hess, the home’s great room needed a stronger connection to the adjacent outdoor living space, so the existing windows were replaced with French doors. Hess commissioned a large stained-glass installation for the upper windows to maximize the impact of the room’s 20-foot-high vaulted ceiling. As part of the renovation of the existing fireplace in the great room,
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Hess designed a travertine slab surround and hearth, as well as a tiled wall feature with a motif inspired by the noteworthy tile designs of Italian architect Carlo Scarpa. To finish, Hess worked with local sculptor Scott Foster to create a lightweight epoxy tile solution that is evocative of the glaze used by tile craftsmen. Inspired by the popular conversation pits of the 1960s and ’70s, the home’s standout lounge includes an Osmose-designed, velvet tiered sofa on a shag-carpeted platform, custom Palisades green onyx coffee tables, and a Joe Colombo–designed, wall-mounted coupe light fixture. In the main bedroom, the eyecatching headboard has “a stepped motif that continues the layered Scarpa-esque detailing found in the new installations throughout the house,” Hess notes. Built-in bedside lamps were blown by the glass artists at Portland’s Esque Studio, a nod to local artisans, whose work Hess always prioritizes in her designs. h
PR OJ ECT DET AILS COLLABORATOR Grada Inc. LOCATION Portland, Oregon, United States DATE OF COMPLETION November 2019
DINA AVILA
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Spokane, Washington, has a long history as a community forum. Once a sacred gathering space and fishing grounds for the Spokane Tribe, the area was the birthplace of the city. Upriver waterfalls historically supported industry, and a forward-looking vision transformed the site from an industrial landscape into the home of Expo ’74, Spokane’s 1974 world’s fair, which was the first world’s fair to focus on the environment. Nearly 50 years later, the park was ready for a sustainable refresh. Using the idea of community as a touchstone, Seattle-based landscape design firm the Berger Partnership developed a master plan for the park that would enhance connectivity to the urban core, establish a living landscape, and renovate the iconic Pavilion—a flexibleuse event space that hosts everything from concerts to basketball games. The Howard Street Promenade is a vital new pedestrian thoroughfare.
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“Interwoven within the Promenade are secondary paths connecting to viewpoints, topographic basalt seating berms, art pieces, rain gardens, curated plantings, and native ecology,” the Berger Partnership writes in its entry. “More than a connection, the Promenade is a destination and a home to popup programming, with extensive permanent festival infrastructure integrated along the route.” Restoration of ecology (including native plantings), reconnection with the river, and inclusion of the Spokane Tribe in the design process guided the project. The Pavilion was filled with an architectural landscape; new fabric panels shade paved areas while leaving the cooler landscape areas open to sun and breeze. At dusk, the Pavilion’s light blades (pioneered for this project) transform a cable net into a dazzling display of colorful, patterned light shows choreographed to music. h
PR OJ ECT DET AILS DESIGN TEAM Guy Michaelsen Matt Martenson Angie Oh COLLABORATORS NAC Architecture Garco Construction Hill International Jacobs Dark Light Design Land Expressions Walker Construction GuildWorks, LLC LOCATION Spokane, Washington, United States DATE OF COMPLETION September 2019
BUILT WORK PHOTOGRAPHY
RIVERFRONT PARK, NESTLED ALONG THREE CHANNELS OF THE SPOKANE RIVER in the heart of downtown
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A STRIKING EXAMPLE OF DESIGN SERVING AS A PLATFORM FOR THE FUSION OF TECHNOLOGY AND TRADITIONAL CRAFT, the Weaving
the Light collection—conceived by Lima, Perú–based design studio D.A.R. Proyectos—presents a series of lamps that glow from the materials they are constructed from. Organic in form and mesmerizing to look at, the lamps reimagine what lighting can be while helping indigenous Andean communities preserve their artistic heritages. Desarrollo Artesanal Rentable, which translates from Spanish to Sustainable Artisan Development, “reimagines craft traditions and use of local materials in the north coast of Perú,” the studio writes in its submission. “Focusing on social, innovation-based design, D.A.R. partners with local indigenous craft communities to redefine the value of local techniques and handmade objects. The studio applies design as a tool for preserving traditional knowledge and generating new
value for the Andean community so that artisans can achieve better opportunities.” The fixtures in the Weaving the Light collection, which consists of the snakelike rope lamp and a more traditional table lamp, are made simply from electroluminescent (EL) wire and white nylon thread shaped by traditional Andean weaving. The materials are durable, flexible, and strong, and when combined, serve as both the source of light and the structural foundation for each design. “There is nothing luxurious about the transparent plastic EL wire,” D.A.R. Proyectos explains. “Crafted by hand with open stitchwork and Andean pattern, the intentional exposure of the shiny EL wire shows off a rich tonal contrast of silky white nylon against the transparent cased copper. The unexpected contrast of these two very different materials for lighting creates a fresh and playful interaction between textiles and technology.” h
PR OJ ECT DET AILS DESIGN TEAM Mauricio Navarro Jenny Boucher Vicky Rojas Rocio Castillo DATE OF COMPLETION June 2020
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DRAFT LEVEL—THE NEWEST PRODUCT FROM OREGON-BASED DESIGN STUDIO SELEK DESIGN—
is a problem-solving tool that places form and function on equal footing. According to the firm’s entry, “the atelier focuses on designing everyday objects that are inspired by ordinary intuitive behaviors in daily lives. For Selek Design, a product should be as pure and simple as water that does not leave any scent or taste behind. [Our] products aim to have a silent character that goes unnoticed.” The Draft Level, which “provides guidance for a horizontal plane, is designed to fulfill this function in its most primitive form, using the gravity point of the object to find perfect balance,” Selek Design explains. Intended for basic leveling needs, such as hanging art frames or installing shelves, the instrument, made from two crossed bars that can be aligned horizontally, looks much like an art object, its subtle, light-gold tone elevating it above typical hardware-store finds. “Since the level is designed as a primitive tool,” Selek Design says of its creation, “it also tries to avoid complex manufacturing methods or variety of materials. With this, the product is aimed to be sustainable both during its production stage and end of life cycle.” h
P ROJECT DET AILS DESIGN TEAM Erdem Selek Hale Selek COLLABORATOR Novotny Glass DATE OF COMPLETION July 2020
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firm Measured Architecture, along with collaborators Powers Construction and Unbuilders, was asked to design the convention’s central bar. A popular hub, the bar is created by a different local design firm each year, and embodies the show’s overall theme, which for 2019 was “Design DNA.” “The theme of the show prompted the architects to consider the building blocks of construction,” Measured Architecture writes in its entry. “The team decided that whatever structure they envisioned and created, it would be a zero-waste design, as sustainability is a dominant gene encoded in all [of the collaborators’] DNA.” Named Restock and constructed with old-growth lumber, Tyvek, building paper, and vapor barriers (any material used for moistureproofing, typically a plastic or foil sheet), the bar was an examination of the environmental footprint of a standard, dismantled single-family home. To maintain the integrity
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of the bar’s materials, which were repurposed at the end of the show, the design called for no drill holes or cuts, and each component was connected with clips or straps. “We sought to radically rethink, and then represent, residential demolition,” Measured Architecture explains. “The architects designed a [three-dimensional, physical representation of a] bar-code system to catalogue the different ways in which building materials are salvaged. The gaps in the bar code provided spectators with glimpses of the cozy interior and invited them into the structure.” According to Measured, 60 percent of Vancouver’s landfill contents are materials from the residential construction industry; with that in mind, the architects and their collaborators hoped to “shed light on demolition strategies that protect the salvage content of a building.” At the end of the show, 85 percent of the structure was recycled and 15 percent repurposed. None of the materials went to a landfill. h
PR OJ ECT DET AILS DESIGN TEAM Clinton Cuddington, Piers Cunnington, Hannah Newton, Dana Salama, Matt Kijewski, Sam Dunner, Lewis Canning, Patrick Gonzales COLLABORATORS Ema Peter Photography Martin Knowles Photo/Media Patrick Powers, Powers Construction Adam Corneil, Unbuilders, Nick de Ridder, Fast + Epp Partners ARC Document Solutions OTHER: Cloth Studio, Habitat for Humanity, Komol Plastics, Nelcan Electric, Nu-Tech Roofing, Plum Framing and Forming, Rebecca Anderson, Graham Case, Eero Cuddington, Mika Ishizaki LOCATION Vancouver, British Columbia, Canada DATE OF COMPLETION September 2019
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FOR STUDENTS AUSTIN SCOTT AND JO BLOOMFIELD—BOTH ENROLLED IN WESTERN WASHINGTON UNIVERSITY’S highly competitive
industrial design program—helping others through design is a strong passion. As part of a project undertaken during the winter quarter of their junior year, the duo created Lo, a wearable device for young adults that promotes blood-pressure awareness and positive lifestyle changes. “This product is for individuals in their early twenties, when prehypertension arises,” Scott and Bloomfield explain in their entry. “People are often uninformed of their blood pressure until it becomes a bigger problem and permanent damage is done. Taking charge of lifestyle changes is important for healthy behavior in the future.” During the research phase, Scott and Bloomfield made two discoveries that guided their design process. First, they learned that hypertension is often asymptomatic, leaving people unaware of their elevated blood
pressure. Second, they found that changes in lifestyle often lead to longterm improvements in blood pressure and heart health. The pair also discovered that blood-pressure trends over time give more accurate bloodpressure data, because of changing variables throughout the day. “One of the challenges we ran into in our design exploration was creating a device that encourages positive lifestyle changes while not being invasive to daily routines,” they note. Inspired by the design of the ubiquitous wearable fitness tracker, Scott and Bloomfield created a thin, bracelet-like device that tracks the user’s blood pressure and integrates the data with the Lo app. Lo uses an integrated photoplethysmogram (PPG) sensor that projects small lights onto the surface of the skin, reading blood volume changes; in turn, Lo displays blood-pressure data. The user can set a blood-pressure goal via the Lo app, and when all five LEDs on the device’s face are illuminated, that personal goal has been attained. h
PR OJ ECT DET AILS DESIGN TEAM Austin Scott Jo Bloomfield DATE OF COMPLETION March 2020
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ONE OF THE BIGGEST ISSUES FACING THE MANUFACTURING SECTOR TODAY IS WHAT TO DO WITH WASTE—the bits and pieces
of material left over after a product is made. Seattle-based lighting manufacturer LightArt has stepped up to the challenge with the Coil Collection, a line of light fixtures produced through additive manufacturing (3D printing). From the outset, the design team treated the endeavor as more than a mere use for offcuts and other waste. Their guiding principle was: How can we make recycled content look as good as possible? “This is where things started to get really challenging,” says Ryan Smith, LightArt’s founder. “When we first started, it did not look polished—it looked like what you might expect when you’re trying to turn garbage into something beautiful. But we kept following the promise of the process and made something we’re so proud of.”
During two years of research and development, the team worked with the engineering division of LightArt’s parent company, 3form, to determine the base material possibilities, tapping into the collective expertise and innovation of other polymer companies across the United States. Using a process to pelletize material waste, then sort it by color, the company came up with a black-and-white palette for the distinctive, geometric pendants, which are available in seven shapes. A matte finish gives the fixtures a pottery-like quality. “Coil Collection is made from [our products’] waste material,” the company writes in its entry, “but the brand hopes to expand the practice throughout the industry over time, as the LightArt facility strives to become a manufacturer of goods that are net positive in climate, waste, and energy.” h
PR OJ ECT DET AILS DATE OF COMPLETION April 2020
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sculpted objects, functional pieces, and design environments brentcomber.com
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NIYA BASCOM + ANISHKA CLARKE By Rachel Eggers
NAVIGATING CHALLENGING TIMES IS NOT NEW TO ANISHKA CLARKE AND NIYA BASCOM OF BROOKLYNBASED ISHKA DESIGNS. As Clarke
was graduating from the Fashion Institute of Technology in 2007, she and Bascom formed their interior design firm, taking on the redesign of a brownstone residence in January 2008—the same year in which the global financial crisis hit. Instead of throwing in the towel or calling bad timing, the two used the challenging times as a creative catalyst. “It fueled us to persevere,” Clarke says. “We’re proud that we stuck with it, we got through it.” The duo, who both have roots in the Caribbean, did more than just get through. Driven by a set of core principles, one of which they describe as “akin to conscious design,” Ishka Designs’ practice now spans
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residential, commercial, and civic Now, amid a climate of crises and projects around the world, including calls for social change, Clarke and an 8-bedroom vacation villa in Bascom maintain a consistent sense Jamaica and the in-progress design of purpose. “What I’ve been seeing for the new Ifetayo Cultural Arts is a testament to who we are as Academy in Brooklyn. humans; our resiliency,” Bascom Clients of Ishka Designs respond says. “If you’re not willing to adapt to to the firm’s aesthetic and its challenging times, you perish.” This approach to design, both of which pair has adapted before, and no doubt are based on livability, functionality, will continue to do so, but Clarke and simplicity. When it comes to says that these days, there are product and furniture sourcing, more like-minded individuals in the Clarke and Bascom prefer the design sector. “These awakenings handmade, the natural, and the authentic. (An “TRENDS TREND, BUT DESIGN LIVES.” upcoming residential —NIYA BASCOM project in California will focus on pieces made by female artists and artisans.) “We have put a spotlight on the industry; look for objects that are special it remains to be seen whether it’s enough to stand on their own while performative or more long-lasting, in relation to [the rest of the space],” but it’s a beautiful thing.” h Clarke explains.
NIYA BASCOM; INDUSTRY CITY
ABOVE: The dining room in a vacation villa project by Ishka Designs on the south coast of Jamaica. The exposed staircase ensures maximum ocean views. OPPOSITE, FROM LEFT: A shot from a vacation villa project by Ishka Designs on the south coast of Jamaica. Niya Bascom and Anishka Clarke of Ishka Designs.
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TOM DIXON By Amanda Zurita
A FIXTURE IN THE BRITISH DESIGN WORLD FOR NEARLY FOUR DECADES,
industrial designer Tom Dixon has always been ahead of the curve. Entirely self-taught, the London-based designer was forced to abandon his career as a musician after a motorcycle crash left him injured and unable to tour. Instead, Dixon turned to welding and started crafting furniture from scrap metal—a fortuitous pivot that would drastically change his life, and the future of the design industry. In 2002, Dixon founded his eponymous design company—which specializes in lighting, furniture, and accessories—for which he serves as creative director while also overseeing
the Design Research Studio, an interior and architectural design studio. Throughout his distinguished career (which has been punctuated by an appointment to the Order of the British Empire by Her Majesty the Queen, as well as acquisitions by the likes of the Museum of Modern Art in New York and London’s Victoria and Albert Museum), Dixon has combined design prowess with a dash of whimsy, producing popular products such as the Jack light, a brogue-shaped doorstop, and the ubiquitous Mirror Ball light. His style has driven trends, and the design market, for decades. The challenges brought on by the COVID-19 pandemic haven’t
“THE IMPORTANT THING FOR ME IS TO DO ORIGINAL WORK, TO CREATE SOMETHING I HAVEN’T SEEN BEFORE THAT INCREASES THE CONVERSATION AND FLOWS OUTSIDE OF THE CURRENT.”—TOM DIXON
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bypassed Dixon, who is capitalizing on what most designers have right now: a surplus of time. “For once in a generation, everybody’s in the same boat,” he says, “and I’m feeling a spirit of cooperation where new partnerships can be made.” Such scrappiness is emblematic of Dixon’s entire career, throughout which the common thread has been his passion for learning about a material, tool, or process, then using it in an innovative way. Even now, Dixon sees himself as an outsider observing the design industry from a unique perspective. “You don’t want to be too knowledgeable in the beginning of a project,” he explains. “You want to look at it with somewhat naive eyes. That’s what I hope to maintain throughout my career— never being so much of an expert that I can’t see things differently.” h
COURTESY OF TOM DIXON
ABOVE: The new Fog Giftset London by Tom Dixon disperses the brand’s popular woody incense fragrance through a handcrafted brass vessel. OPPOSITE, FROM LEFT: Pieces from Tom Dixon’s new Swirl collection, which includes
candleholders, bookends, vases, and tables. London-based industrial designer Tom Dixon.
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Gang, The Powerhouse is an integrated student union, recreation center, and athletic facility at Beloit College in Wisconsin. Inside the WMS Boathouse at Clark Park in Chicago. Architect Jeanne Gang, founder of Studio Gang.
JEANNE GANG By Rachel Eggers
us, while also thinking tactically about how to achieve them through our work.” In one project that It was a sign of things to come: In illustrates Gang’s interdisciplinary the four decades since that first research and design process, Studio design project, Gang has built an Gang advocated for stewardship of illustrious career as one of the most the polluted and largely forgotten influential and important architects Chicago River and, as a result of this and urban designers alive today. research, was commissioned by the Since founding her Chicago-based Chicago Park District to design two design firm, Studio Gang, in 1997, boathouses, completed in 2013 and she has designed groundbreaking 2016 respectively. public spaces, cultural institutions, Gang believes that architects must and educational centers throughout work to decarbonize buildings and the Americas and Europe, using excities in order to create a safer and tensive studies to shape her process. more equitable world. “We can only do that through taking on projects that perform environmentally and help “‘ACTIONABLE IDEALISM’... IS OUR reduce the unfair and MANTRA, REMINDING US TO NOT widening income gap,” GIVE UP ON PURSUING THE she says. “The goal to BIG IDEAS THAT MOVE US, WHILE reduce carbon leads us to ALSO THINKING TACTICALLY.” adaptive reuse projects— —JEANNE GANG the reinvention of existing buildings for new uses.” It’s a fresh challenge for Studio Gang, which was recently someone who built her career recognized by Fast Company as honing a specific ground-up style— “the most innovative company in Gang’s modern, often-amorphous architecture,” is guided by the ethos designs play with shape and line in of “actionable idealism,” which Gang an organic way—but for the architect uses as both inspiration and tactical of one of the tallest woman-designed strategy. “In a way, it’s our mantra,” buildings in the world (Chicago’s she says, “reminding us to not give up Aqua Tower), it’s just another day at on pursuing the big ideas that move the office. h WHEN ARCHITECT JEANNE GANG WAS JUST 11 YEARS OLD, SHE DESIGNED AND BUILT A TREEHOUSE.
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TOM HARRIS, COURTESY STUDIO GANG; STEVE HALL; SAVERIO TRUGLIA
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MPHETHI M. MOROJELE By Lauren Gallow
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FOR AWARD-WINNING ARCHITECT MPHETHI M. MOROJELE, 2020 HAS BEEN A YEAR OF GETTING BACK TO THE BASICS. “This year has
highlighted the power of simplicity,” says Morojele, who has been exploring this idea at MMA Design Studio, of which he is founder and owner, and in his teaching at the University of the Witwatersrand, Johannesburg. “It’s about avoiding superfluous concerns that in the past have been easy to fall into, such as trying to make a project stand out or be bombastic,”
he says. “These things are becoming less and less important.” Morojele has, in fact, been honing this restrained approach for decades, on projects that run the gamut from large-scale cultural destinations such as Pretoria’s Freedom Park, to urban regeneration projects across Johannesburg, to South African embassies worldwide. Since founding his practice in 1995, just a year after the end of apartheid in South Africa, Morojele has been recognized as one of an influential group of architects
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GRAHAM YOUNG: NEWTON LANDSCAPE ARCHITECTS
CLOCKWISE FROM TOP: A MMA Design Studio rendering of the Department of Humanities and Heritage Studies building at Sol Plaatje University, the first of two new universities to be built in South Africa’s democratic era. Freedom Park in Pretoria, South Africa, designed by architect Mphethi M. Morojele. Mphethi M. Morojele, founder and owner of MMA Design Studio.
including David Adjaye and Francis Kéré, whose work, as the New York Times recently put it, “will define the architectural character and identities of rising Africa.” For Morojele, most important in this work has been learning from the past to create a new future. “We can translate indigenous knowledge
and traditions into a contemporary approach,” he says. “Mainly, that architecture is more than just a building; it’s the totality of the environment, completed by the body in space.” Recently, Morojele has been applying this ethos to a new design for the Department of Heritage Studies and Humanities at Sol Plaatje
University, the first of two new universities to be built in South Africa’s democratic era. “How do you design for institutions that have never existed in a place before?” Morojele asks. “It’s about leaving things open-ended and allowing the architecture to be made through the human body.” h
“RIGHT NOW, I’M MOST INTERESTED IN WHAT I CALL ENVIRONMENTAL PSYCHOLOGY, WHICH IS TRYING TO GO BACK TO A MORE EMBODIED WAY OF PRACTICING ARCHITECTURE.” —MPHETHI M. MOROJELE GRAY
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GUO PEI By Lauren Gallow
CHINESE FASHION DESIGNER AND COUTURIER GUO PEI burst onto the
Western fashion scene in 2015 when pop royalty Rihanna wore one of Pei’s showstopping confections to the fashion world’s famous Met Gala. (Off the red carpet, two of Pei’s garments were also on display inside the Metropolitan Museum of Art, as part of the China: Through the Looking Glass exhibition.) Rihanna’s canary-yellow, fur-trimmed, intricately embroidered gown took more than two years to make, and is an example of Pei’s graceful mastery of traditional Chinese craftsmanship. “To me, haute couture is not just a piece of clothing,” Pei says. “It can bring beauty that transcends reality.” Although Pei has been a household name in China for decades, “THE MOST IMPORTANT she has only recently entered into ASPECT OF MY CREATIONS mainstream fashion consciousIS THE EMOTIONAL VALUE. ness with her exquisitely detailed, THEY’RE INSPIRED BY otherworldly designs. Since being invited to the Fédération de la Haute THE DEEP EMOTIONAL COMMUNICATION I’M Couture et de la Mode—fashion’s ABLE TO HAVE WITH highest governing body—in 2016, CLIENTS, WHICH IS THE Pei has been recognized worldwide GREATEST VALUE OF for her singular designs, with Time magazine naming her to its coveted HAUTE COUTURE.”—GUO PEI list of the most influential people in 2016. This year, one of Pei’s most extravagant gowns, “Magnificent Gold,” was exhibited at the Musée des Arts Décoratifs in Paris. “I was we also launched our first online proud to express my concept of collection. We’re all adapting,” she luxury with this piece, which took says. Now, Pei and her 500-person 50,000 hours to complete,” Pei says. atelier are hard at work on their “For me, true luxury cannot be next couture collection for Spring/ measured by money, but by the time Summer 2021. “The pandemic has and emotions invested in it.” changed many things, but it has also Although 2020 has rocked the given us a new understanding of fashion industry, Pei remains the beauty of life,” Pei says. “The optimistic. “2020 marked the first best way forward is to dream about time the official Paris haute couture the future.” h Fashion Week was held online, and
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FROM TOP: A runway shot from
fashion designer Guo Pei’s Spring 2020 collection, Himalaya. Fashion designer Guo Pei.
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The opening runway look from Guo Pei’s Spring/Summer 2018 collection, Elysium. The golden oblong dress is made primarily from bamboo.
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MARTHA SCHWARTZ By Lauren Gallow
COURTESY MARTHA SCHWARTZ PARTNERS
THESE DAYS, RENOWNED LANDSCAPE ARCHITECT MARTHA SCHWARTZ IS MOST INSPIRED BY HER “GEOCLIQUE”: a group of the
as art. This year, she was honored for a lifetime of achievement with the American Society of Landscape Architects’s highest honor, the Design Medal. Now, Schwartz is finding her north star in educating the next generation of designers at the Harvard University Graduate School of Design, where she has taught since 1992 and recently helped implement the first required course on climate change. In June, Schwartz launched a nonprofit called MAYDAY.Earth, a clearinghouse
world’s leading scientists, sociologists, and innovators working to mitigate climate change. In 2016, after four decades of building her global landscape design firm, Martha Schwartz Partners—which now has offices in New York City, London, and Shanghai—Schwartz shifted her focus to climate-change activism. “What we do as landscape architects is manipulate and design the land,” she says. “Global warming is exactly “PEOPLE ARE CURIOUS what our profession needs to be CREATURES. SO, IF WE looking at right now. It’s the only DESIGNERS CAN GIVE thing that matters.” PEOPLE SOMETHING TO Known for her sometimes subverDIG INTO, SOMETHING sive designs, which fellow landscape TO INTERPRET IN THEIR architect Kathryn Gustafson OWN WAY, I THINK describes as “serious fun,” Schwartz THAT’S A LOT MORE FUN came to landscape architecture with TO BEHOLD.” —MARTHA SCHWARTZ an artist’s agenda. “I didn’t start from an environmentalist point of view. I wanted to do what artists of information and teaching on like Christo were doing: manipulate climate-intervention strategies. the ground plane.” With designs for Schwartz says that after spending major public spaces around the years sounding the alarm bells about world, including a reconfiguration of global warming, she’s finding that the Place de la République in Paris, people are finally listening. “This Dublin’s Grand Canal Square, and the year, I’ve seen people really start to new Beiqijia Technology Business think at a global scale and recognize District in Beijing, Schwartz has that everything is connected,” she been celebrated internationally for says. “2020, for me, has felt like her singular approach to landscape watching the sun rise.” h
CLOCKWISE FROM TOP: A floating pavilion designed by Martha Schwartz Partners is part of
the Times Central Sales Center in Xiamen, China. Landscape architect Martha Schwartz, founder of Martha Schwartz Partners. A rendering of the upcoming Zigong Dongxingsi Waterfront project in Sichuan, China; The landscape concept draws inspiration from the complex patterns of the adjacent Fuxi River, as well as from the dragon, an important symbol in Chinese culture and an allusion to the dragon boat race, a major event in this area.
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PIERRE YOVANOVITCH By Amanda Zurita
AN AVID CONTEMPORARY ART COLLECTOR with a background in
high-end fashion design, interior architect and furniture designer Pierre Yovanovitch draws inspiration from all corners of the art world, imbuing his projects with details that range from the saturated hues of modernist paintings to the sweeping curves of Art Deco sculpture. But right now, it’s the opera (which has always been an inspiration) that’s really sparking his creativity—in particular, what’s going on in the background. “Set designers are capable of capturing the essence of a piece with a simple yet powerful décor,” he says.
A similar, quiet drama characterizes Yovanovitch’s work, which takes shape at the Paris atelier he founded in 2001 and at a New York City outpost that opened in 2018, and encompasses residential and commercial projects around the globe. “To me, good design is when the quality and craft of the design speaks for itself,” he says. “We strive for a level of skill and uncompromising attention to detail—which goes into creating every square centimeter of work—that is unparalleled. That’s a distinguishing factor that cannot easily be replicated.” Often characterized as quintessentially French, Yovanovitch’s
“DON’T FOLLOW TRENDS. ABOVE ALL, IT’S ABOUT INTEGRITY AS A DESIGNER. THAT’S WHAT MAKES YOU STAND APART FROM THE REST AND, AT THE END OF THE DAY, IS WHAT MAKES YOU FEEL FULFILLED.” —PIERRE YOVANOVITCH
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elegant creations—including the Hôtel Le Coucou in the Swiss Alps, for which he designed 130 site-specific furniture and lighting pieces—feature a precise, intentional blend of historic foundations with contemporary elements and, often unexpectedly, injections of playfulness that impart a light, unpretentious quality. Looking forward, Yovanovitch emphasizes the need for design that’s considerate of our environmental future. “The life span of design pieces is key,” he says, “particularly in the age of mass-production. As designers become more aware of how they are contributing to the climate crisis with pieces that are quick to end up in a landfill, it’s important that we focus on the longevity of our work and also keep in mind where we are sourcing materials.” h
LUC BERTRAND; STEFANIE MOSHAMMER; STEPHEN KENT JOHNSON
ABOVE: A vignette from LOVE, a 2020 exhibition featuring Pierre Yovanovitch’s work, at the R & Company design gallery in New York. OPPOSITE, FROM LEFT: Yovanovitch designed the brightly colored boutique for Villa Noailles, an arts
center in the provincial commune of Hyères, France. Paris-based interior architect Pierre Yovanovitch.
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TO THE TRADE IN THE SEATTLE DESIGN CENTER dfgseattle.com
DFG FebMar20 - 50.indd 2
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LAST CALL One more round of inspired design.
The two-story Balbek Bureau-designed salon Say No Mo veers toward the unexpected with a tonal color scheme and tons of concrete, including this poured-concrete reception desk.
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SET IN STONE
A beauty salon in Kiev, Ukraine, eschews the traditional gendered salon aesthetic in favor of thick concrete, crudely welded metal, and a monotone palette accented with gold. By Lauren Mang Photographed by Yevhenii Avramenko IN KIEV, UKRAINE, THE RECENTLY OPENED SALON SAY NO MO SAYS “NO” TO GENDERED DESIGN. The
“TOGETHER WITH THE CLIENT, WE WANTED TO SUGGEST ANOTHER IMAGE OF BEAUTY THAT IS ORIGINAL, NONPERFECT, AND TRULY UNIQUE.” —SLAVA BALBEK, BALBEK BUREAU
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two-level space, imagined by Ukrainian architecture and interior design firm Balbek Bureau, instead veers toward the unexpected with a tonal color scheme and tons of concrete, including a formidable cast-in-situ archway in the entry area. A column clad with gold-hued, polished-stainless-steel panels (a material used on walls throughout the salon to hide imperfections and aesthetically unite different treatment areas) bisects the opening, providing a bright contrast to a poured-concrete reception desk that resembles a stone block. All of the concrete elements sport a broken and chipped surface, which, according to the design team, represents the breaking of gender stereotypes in the beauty industry. “Beauty is most often associated with glamour, gloss, and blush,” says Slava Balbek, lead architect and founder of Balbek Bureau. “Together with the client, we wanted to suggest another image of beauty that is original, non-perfect, and truly unique.” The main floor’s black-metal-plated bar offers clients a spot to get a manicure or unwind with a cocktail (the salon pours everything from specialty drinks and bubbly to tea), and lends a raw, industrial look to the space with its prominent welded seams. The nearby pedicure zone is light and bright, with gold accents from details including a freestanding washbasin crafted from two Soviet-era baby bathtubs. During construction of the nail art area, the designers unearthed another basin and preserved it, filling the 6-and-a-half-foot-deep tub with blue-colored balls.
CLOCKWISE FROM TOP: Sleek yet plush furnishings
in the lounge area. The subterranean salon area features white walls and lots of mirrors, which give the space a bright, airy feeling. Clients can belly up to the metal bar for a cocktail or manicure (or both). OPPOSITE: A chipped concrete archway symbolizes the breaking of gender stereotypes in the beauty industry.
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CALIFORNIA DREAMIN’
A coastal-inspired color palette and mid-century modern touches star in Southern California’s Hotel June, where the summer vibes shine in all seasons.
F
or an extra dose of California cool when staying or playing in the Golden State, pay a visit to the charming, 250-room Hotel June, which opened this past spring in Los Angeles. The boutique lodging from LA-based Proper Hospitality is located in a mid-century modern building by celebrated LA architect Welton Becket, who’s known for designing significant structures including the Beverly Hilton Hotel. LA design agency Studio Collective honored »
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TOP: Custom white-
oak shutters filter sunlight in the lobby of LA’s Hotel June. LEFT: Guest rooms are decorated in coastal tones for a very California feel.
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Sandy-hued terrazzo tile accents the reception desk and flows onto the matching floor. A colorful abstract mural steals the show.
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Becket’s original creation with its design for Hotel June, exposing the building’s structural columns and textured breeze-block walls on the ground floor, and adding midcentury-inspired elements including geometric shapes and forms, color-blocked patterns on corridor walls, terrazzo-topped tables in guest rooms, and white-oak daybeds upholstered in deep, sea-blue fabric. The aesthetic is balanced by a more playful, summery California spirit (think: road trips along the state’s super-scenic Highway 1), captured by materials including white oak, green quartzite, textured and greenglazed terra-cotta tiles, emerald-green powder-coated metalwork, and terrazzo tiles in sandy shades. Striking, full-height white-oak shutters, custom made by LA-based Agave Designs, do double duty in the lobby and restaurant by filtering the afternoon sunlight and blocking less-than-desirable views of the nearby busy street. But the lobby’s brightest star is the colorful abstract mural by Brooklyn artist Alex Proba. In guest rooms, a sisal-like floorcovering evokes the feeling of a traditional seaside casita, while ceramic tiles color the showers with sea-glass hues. California love, indeed. —LM
Woven pendant lamps create a relaxed, beachy vibe at the bar, which is clad with terra-cotta tile.
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SURFACE AREA
Pewter tile pops amid a neutral backdrop in this California facial spa. The dark-burgundy ceiling adds extra drama to the space.
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TIM HIRSCHMANN
Pretty and playful tilework and wallcoverings are the finishing flourishes for California facial spa Cheeks & Co.
LOS ANGELES INTERIOR DESIGN FIRM PROEM STUDIO HAD A SMALL, NARROW FOOTPRINT TO WORK WITH
for the debut location of skincare spot Cheeks & Co. in Pasadena, California. Measuring in at a little more than 1,000 square feet, the space manages to feel bright and open, thanks to its refreshing color palette of pink, varying shades of blue, and white—a color scheme created for the brand by Studio Lowlights—with touches of deep burgundy added for drama and contrast. Pewter-colored mosaic tile covers the reception desk, whose curved shape was inspired by American furniture designer Karl Springer’s Free-Form pieces. Down the long hallway leading to treatment rooms, the design team recessed floor tile in a playful, diagonal diamond pattern, which draws the eye to a light-blue stacked-tile wall, featuring a single black sconce. Other playful details include a lightblue Maison C wallcovering in the bathroom, which Proem Studio founders Ashley Drost and Marie Trohman chose for its beauty and femininity. “To us, it evokes a sense of women celebrating their skin,” they say, “which is what Cheeks is all about.” —LM
TOP: A minimal nook for pulling oneself together post-facial. BOTTOM: Treatment rooms go
halfsies with pink paint to lighten the mood and striped accents that ground the look.
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CABLE SERVICE
The first cross-border cable-car system will shuttle passengers between Russia and China in mere minutes.
THE NETHERLANDS-BASED ARCHITECTURE PRACTICE UNSTUDIO is speeding along
with what it hopes will become a very 21stcentury way to travel: the cable car. After completing designs for cable-car projects in Amsterdam and Gothenburg, Sweden, the firm is poised to begin construction on designs selected for the suspended mode of transportation in Blagoveshchensk, Russia. The Blagoveshchensk Terminal Station will be the first cross-border cable-car system, featuring two lines and four cabins, each accommodating up to 60 passengers and their luggage. It will span the Amur River and link the eastern Russian city with Heihe, China. The total travel time from start to finish: seven minutes and 30 seconds. “Cable-car systems provide a new form of public transport that is sustainable, extremely fast, reliable, and efficient,” says UNStudio cofounder and architect
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Ben van Berkel. A 527,432-square-foot site in Blagoveshchensk will house the station, which is intended to foster social connections between the two countries and strengthen their burgeoning economic ties. The design, which encompasses more than 283,000 square feet, spotlights impressive views of both cities through generous applications of glass: An elevated, Heihe-facing viewing platform overlooks the Amur, and the arrivals platform features views of Blagoveshchensk. The station’s open layout invites passengers to explore its commercial spaces and what UNStudio calls an “elevated urban park,” composed of terraces and green spaces punctuated by sculpture and spots from which to view the riverscape. Construction on the Blagoveshchensk Terminal Station is slated to begin in late 2020. —LM h
ABOVE: Renderings of the
Blagoveshchensk Terminal Station in Russia show cable cars crossing the Amur River to Heihe, China. The building is designed to showcase views of both cities and foster social connections between them.
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