Professional Documents
Culture Documents
Designing Interior Architecture - Concept, Typology, Material, Construction - AL PDF
Designing Interior Architecture - Concept, Typology, Material, Construction - AL PDF
ARCHITECTURE
Sylvia Leydecker (Ed.)
DESIGNING INTERIOR
ARCHITECTURE
Concept
Typology
Material
Construction
Birkhuser
Basel
The Publisher and the Editor wish to thank the following
companies for their participation in this book:
Agrob Buchtal
burgbad
Sto AG
Trevira GmbH
Printed in Germany
987654321
www.birkhauser.com
66 Sustainability: Industry
Simon Hamilton & Associates,
International Director, British Institute of Interior
Design (BIID) Standards and Innovation
67 Sustainability Through Industry Standards
69 Rating Systems
9 Foreword by Kees Spanjers 72 Evaluation
Zaanen Spanjers Architects, Past President,
Dutch Association of Interior Architects (BNI) 75 Sustainability Through Innovation
76 Building Small and the Influence of Economy
and Ecology
Sylvia Leydecker 80 Case Study: Four Small Projects,
10 In between Interior New York, USA
81 Modular Means
Design Between
83 Impermanence
Architecture and Design 85 Case Study: Illy Caff
10 Public Image 87 Case Study: Toolbox, Turin, Italy
17 Professional Profile 87 The Performative: Flexibility to
20 Interior Design as Corporate Design Multifunctionality
29 The Social Dimension of Interior Design 97 Adaptive Re-use
32 Product Design
32 Integration
32 Colour Marina-Elena Wachs
32 Material 98 You have to be inspired
40 Values
42 Trends
Fashion, Music, Art
49 Interior Design is a Reflection of the Era and Science as Design
52 Building Types Inspiration
98 What Does Design/Designing Mean and What
Do We Understand by Qualities?
Joanne Cys
101 Inspiration: Between Emotion and
62
Developing a Discipline: Function
Interior Design Education 101 You Have to Be Inspired by Music
102 You have to Be Inspired by Art
and Research
110 You have to Be Inspired by Fashion
114 You have to Be Inspired by Science
5
Michael Catoir Sylvia Leydecker
6
Lars Grau Johannes Stumpf
7
FOREWORD
by Simon Hamilton
Simon Hamilton & Associates Ltd; International Director,
British Institute of Interior Design (BIID)
Working within the interior design industry is a Grand Hotel, an airport lounge, a shopping around the world. On every trip, whether to
a privilege and an ever-changing experience. mall, acinema or restaurant, are carefully man- Chicago, New Delhi, Paris, Toronto or Milan
As design students we are taught that anything aged. This applies also to workplace and leisure there was always a very positive reception. In
can be created and not to give up on our ideas. environments design. Japan I encountered particularly high respect
Reality kicks in once the theory days of study for designers from the UK that goes some
are over. However, I believe it is still possible As we live longer, our standard of living way to explain Paul Smiths huge success in
to be inspiring, innovative and different within improves and our expectations inevitably rise. that region.
the constraints of budgets, regulations, clients The middle classes of emerging economies
requirements and timescale. have the money to spend and want to be invited Working across several sectors has taught
to the party and are impatient for change. This me a lot about the interior design business
During my career as an interior designer, span- is driving rapid development of new towns, and the variations that exist, but ultimately
ning more than two decades, I have worked railways, ports and infrastructure but we have the task is always the same: we begin with a
across several sectors including workplace, to ask at what long-term cost? Our human vision of creating something unique, beautiful,
hotel, restaurant, offices, exhibition, residen- condition craves change and progress and we relevant, something making an improvement
tial and healthcare. Whatever the brief, the are aware it is unstoppable. Striving to discover on the existing. To have the opportunity to be
fundamental elements of the design process new and different things is part of our natural part of someones life or company for a brief
remain the same. drive. We should not fight it but learn from period can be a challenge but also educating,
the mistakes of the past, where forecasts for rewarding and inspiring. The term journey
The challenge that exists on the international growth and demand have been over ambitious may be clichd, but it describes best the chain
market is to produce designs that are relevant, in certain areas. With a global recession like no of events that defines the design process.
responsible and appropriate. As International other, affecting most countries in the world, we
Director for the British Institute of Interior are now in a state of fear and sometimes panic. The essence of appealing internationally is to
Design, I have been fortunate enough to per- identify the soul of the design, whether it is a
sonally meet and connect with design com- Using design to bring people together and product or space. The international success
munities around the world. Despite cultural have better lives is possible, even if this may of leading British designers such as Sebastian
and language differences, there is a common be a Utopian view. As the global population Conran, Tricia Guild, David Linley, Paul Smith or
bond between them. We share very familiar grows beyond seven billion people, there are Lee Broom is their understanding of the local
problems, issues and obstacles, in a way that is more basic needs to provide. Food, water and markets. More importantly, they share the crea-
both refreshing and frustrating. Interior design shelter are still not available in some regions of tion of a message and identity and promote
is good and will enhance your life, this is the the world but good design continues to help it with confidence, humour and personality.
message we deliver and that does not always resolve this to some degree. Travelling to India
get heard. on more than one occasion, I found it difficult The popularity of vintage, bespoke and herit-
to reconcile with the immediate and ubiquitous age products and spaces is a contradiction
A trend that has become evident to me through poverty, when there were well-catered, smart to our need for the familiarity of brands and
my travels is the ubiquitous desire to be part presentations taking place in plush hotels 10 identities that we are bombarded with in eve-
of the interior design circuit. The list of coun- minutes away. A huge programme of growth ryday life. We have the ability to strike our own
tries now staging regular large-scale interior and development is in place, but the enormity balance between these two competing worlds
design-focused events includes India, Singa- of the task means the timeframe for any notice- through personal selection. An eclectic mix, in
pore, Russia, Brazil and China. They are more able change is protracted. India is not the varying degrees, is becoming more common
than keen to take on the established events only country with this mission on its national and a truer reflection of who we are as peo-
such as the Salone Internazionale del Mobile in agenda. ple. The bland and impersonal, minimalist and
Milan, Neocon in Chicago, Orgatec in Cologne, highly polished style of the late 20th century is
100% Design in London and Maison et Objet It is important to recognise that interior design associated with false promises that we would
in Paris. With so much competition, are we in has a responsibility to ensure that we are share in the success of a highly developed
danger of design overload? improving the quality of life for the masses as world with big financial gains all round. Now
well as prolonging the earths life rather than that the bubble has well and truly burst, we
The increase in our appetite for interior design destroying it. Unfortunately, political and eco- find ourselves responding to a more human and
on a global basis has resulted in positive nomic agendas are also part of the equation, intimate scale of ideas and solutions.
acceptance of the idea that interior design that can steer the sustainability approach off
has meaning and purpose. While the image of course. However, there are a number of loca- I believe that science and design will have a
being a quick fix on a budget will not disap- tions like Abu Dhabi, Australia and Singapore much closer relationship in the future than
pear overnight, the media are better informed where they are taking the lead in green matters we may recognise today, as we currently exist
and perhaps a little less cynical today. The rather than just paying lip service to the ideas under a heavy digital blanket. In order for the
importance and influence of good design is of protecting our future. world to function well, it needs to use its lim-
widely recognised, particularly in the retail ited resources with caution and discover and
and hospitality sectors. Increasing the finan- As an ambassador for British design, it has invent new technologies or materials, which
cial bottom line is the focus of all business, been exceptionally rewarding to meet different are affordable and realistic for the future gen-
which is where good design can make a sig- design communities and interact. I have also eration.
nificant difference. The experiences created witnessed how much British design educa-
for customers, whether in a fast food chain, tion and creativity is admired and respected
8
Foreword
by Kees Spanjers
Zaanen Spanjers Architects; Past President,
Dutch Association of Interior Architects (BNI)
Interiors are the architecture of the future. also nourish the known and well-acquainted. face between user and building, interiors are
Design and architecture are no longer fash- Pushing boundaries is a unique aspect of the expression of our cultural identity and
ionable but are expected to provide specific human nature, as is the need for meaning and ambition. The decoration and design of our
answers to user demand and the need to a sense of security. Habituation is a special immediate environment is a time-honoured
improve our well-being. Health, safety and trait; much of what we encounter as strange art. Intact historic interiors can tell us more
well-being have become important social and ugly at first sight will be valued over time. about the culture, the fashions and habits of a
themes, not least in the Western world where Aging, by contrast, is not a uniquely human certain place and time than in-depth scientific
a shrinking and aging population corresponds condition. Materials age and wear. Sometimes studies. However, intact historic interiors are
with an increasing need for individual and that presents a new beauty, a patina we nourish even rarer than Old Masters paintings. Interiors
small-scale design of the living environment, or even try to imitate. form the user side of buildings and give mean-
calling for particular attention to re-use and ing and value to them, but the user side is also
sustainable development. Well-designed inte- Interiors are the architecture of emotional cul- vulnerable. Interiors are bearers of culture,
riors add value to the perception and quality of ture. In a nice and stimulating environment but ever so often we remake them as they are
use of our immediate living environment, to our people experience more commitment, more overtaken by time.
feeling of well-being and to the quality of life. pleasure, satisfaction and success. People have
a desire for association, expression, remem- Interiors are the architecture of responsibility.
Interiors are the architecture of change. The brance and beauty. They want to identify with Designers take into account the consequences
life-cycle of a building knows many users and their environment. This means that an environ- of their professional activity for the health,
is subject to a continuous change of views. ment ought to provide space for individuality safety and well-being of all those who may
Abuilding is never finished, giving every user and self-expression, which in turn offers new reasonably be expected to use or enjoy the
the opportunity to attach their narrative to perspectives for improvisation, spontaneity, product of their work. This way of looking at
it. Interior architects/designers give shape vision and imagination. Interactive encounters design, going well beyond superficial styling
to a sustainable renewal of buildings. While and ergonomic quality are key to accommo- and decoration, requires training, experience
preserving the specific and sometimes unique date socio-psychological aspects in a working and an openness to life-long learning. It also
architectural qualities, we provide and care for environment. The emotional house may fos- needs a bent for research and development.
generation after generation to feel at home. ter new models of efficiency and productivity. But above all, it calls for a love for people.
In public interiors as well, it is important to
Interiors are the architecture of perception. explore the functional potential of perceptional May this book be of assistance to those
One of the factors that determine the apprecia- aspects, creating places that command desir- designers.
tion for our environment is time. Light and dark, able behaviour. People are easily influenced
as well as the changing of the seasons, have but want to be taken serious.
a defining effect on the perception of interior
space. Fashion and trends play an important Interiors are the architecture of cultural his-
role as well. We are challenged by the new, but tory. Beyond their role as a utilitarian inter-
9
IN BETwEEN
INTERIOR DESIGN
BETwEEN
ARCHITECTURE AND
DESIGN
SylvIA lEyDECkER
human-centred is a term encountered regularly in the interior stylists and, in an international context especially,
context of interior design because our spatial surroundings they are perceived as being solely interior decorators.
have such a fundamental influence on our lives. We are but interior design encompasses much more than that, and
all aware of the value of spatial qualities, whether as a this is what differentiates professional interior designers
means of improving our sense of well-being in a space or from the clichd image. Professionals will have completed
for facilitating work processes. The architectural design a comprehensive programme of studies and work on a
of interiors influences our emotional sensibilities and in broad range of tasks that go far beyond that of luxury villas.
turn how we behave. It can communicate an attitude,
provide an atmosphere of trust and safety, reduce anxi- The field of interior design lies between those of other
ety, be relaxing, stimulating or alternatively reassuring. professions: on the one hand, there are architecture offices
It influences our motivation to work, our sense of respon- who work on the renovation and modernisation of existing
sibility or disregard for a space, and it can be soothing or buildings, traditionally a primary field of interior design;
disquieting, spiriting or depressing. The design of spaces and on the other there are design agencies who create inte-
and their atmospheres affects the behaviour and well- riors as part of lucrative branding contracts. This situation,
being of everyone involved. while problematic for the profession, also demonstrates
that interior design is more in demand than ever.
pUBlIC IMAGE The core aspect of interior design work is the design con-
cept itself. Designs are usually characterised by different
Interior design is generally perceived as lying between individual interpretations of the task: a personal style or
the poles of architecture and design. In the media and signature. one and the same design task can embody
popular press, it is commonly portrayed as the furnishing differing degrees of creative and intellectual potential.
of luxury residences, an image reinforced by the plethora In practice, professionals must adopt a standpoint that also
of TV interior makeover shows. The role of interior archi- defines how they see themselves and their own approach
tects and designers is often confused with being that of to work in their profession.
10
Climbing deluxe:
this climbing wall in
a fitness club plays
off its location in a
fashionable district
of Tokyo interior
decorations as
climbing aids: picture
frames, mirrors, vases
and deer heads.
Illoiha omotesando Fitness gym,
Tokyo, Japan; Nendo
Interior designers have the skills and know-how to shape zines, their general focus tends to be on interior decorat-
the quality of interiors for their future use, whether in a ing, and the featured interiors span the range from spaces
private house or for a large corporation. The spectrum designed by professional architects and interior designers
of activities in the field of interior design is very broad to private houses designed by non-professionals, ranging
and ranges from furniture design and product designs from Mr big Shots wife to married couples with artistic
for industrial manufacture to designing in existing fabric. ambitions. glorified cushion arrangements for home living.
So who is responsible for giving interior design a distinc- compared with architects, interior designers are very
tive profile in the public arena? Who are the iconic interior much in the minority: good interior designers are rare and
designers of the day? Names that immediately spring to valuable. While the proportion of women within the pro-
mind include designers such as Philippe Starck and Andre fession is relatively high compared with other branches,
Putman, or global design pop stars such as Karim rashid especially during studies, this proportion decreases later
or Marcel Wanders: the first is a universal genius at home when it becomes increasingly difficult for women to bal-
in all genres from pasta to high-rise buildings, the second ance career and children. The resulting lack of professional
is the grande dame of interior design, and the last two are female interior designers does not help to strengthen the
product designers who also work in the field of interior image of the profession. Instead, the clich of barbie the
design. Further examples include offices, such as con- interior designer, which still prevails in some sectors, only
crete and Nendo or Kelly hoppen or Shiro Kuramata, who reinforces the view of interior design as a kind of pastime
create contemporary interiors, as well as Eileen gray as a for women. 17
11
IN bETWEEN
12
P u b lI c I M Ag E
13
IN bETWEEN
Swoosh: forward-
looking dynamism
expressed using clean
white, free-flowing
organic curves.
SYZYgY office, Frankfurt am Main,
germany; 3deluxe
Queer: a small
but telling detail.
hoSI linzs caf Julius,
Austria; Pudelskern
14
P u b lI c I M Ag E
15
IN bETWEEN
Interior of a bungalow
the staircase is a sculptural
composition of material,
form and light.
bungalow from 1960, geluwe,
Wervik, belgium; Frank Sinnaeve,
InteriorArchitect belgium
16
P ro fessi o na l P ro fi le
17
IN bETWEEN
18
P ro fe s s i o n a l P ro fi le
Movement is the
captivating element
in this pavilion in
a flagship store in
which the low red,
fibreglass cubes
appear to glide
magically through
the space.
Comme Des Garons, Paris,
france; ab rogers Design
19
I n Between
20
co r P o r ATE D E S I g N
and target groups, most recently for example with interac- Property marketing also uses attractive interior design to
tive applications. but as soon as everyone starts to follow create offers that appeal to a certain clientele. In many
the same trends, uniformity begins to displace variety. cases, the name of the architect is also a selling point (but
Interiors that are unconventional and have a character of rarely the interior designer, although the interiors are often
their own are a good means of communicating and dif- what is shown). Factors that have a fundamental impact
ferentiating a brands profile. Particularly effective are on the housing market, such as demographic change, are
interiors that are different and have something unique also reflected in the design of appropriate interiors, both
about them but are also authentic, and therefore able to create demand as well as to increase the sale value.
to set new trends and generate new impulses. unique-
ness paired with a relevant interior design history is an Aside from when there is a good business argument, com-
increasingly powerful combination: the emphasis is on a mercial interiors are only rarely people-focused. Work
strong profile as opposed to arbitrariness. The member environments are mostly defined by functional considera-
hotels of the Design hotels group, for example, differenti- tions, such as the need to optimise processes and ease
ate themselves from mainstream hotels by offering a taste maintenance. The trick is to create an attractive environ-
of lifestyle rather than just overnight accommodation, and ment that simultaneously motivates staff and represents
budget hotels that employ effective branding have great the image of the company. customers will accord even
development potential. small companies greater competence when the premises
they occupy are attractive and well-designed. 29
21
IN bETWEEN
22
co r P o r ATE D E S I g N
23
IN bETWEEN
A compelling, lifestyle-oriented
corporate design, accompanied
by an equally strong interior
design in black and white,
characterises this building
for a serviced office provider.
Face To Face, Singapore; Ministry of Design MOD
24
co r P o r ATE D E S I g N
25
IN bETWEEN
26
co r P o r ATE D E S I g N
27
IN bETWEEN
28
So c IA l D I M E N S I o N
THE SOCIAl DIMENSION OF special status, arguing that the structure of a house plays a
secondary role. The focus of his work was to create a warm
INTERIOR DESIGN and comfortable interior, although this cannot exist without
the building structure. he drew a clear distinction between
commercially motivated branded interiors are compara- designing indoor and outdoor spaces: the reduction of his
tively superficial and showy. but aside from this, and also facade designs contrasts markedly with his designs for
much more important ethically, interior design has a social comfortable and often opulent interiors. he also allowed
responsibility and as such affords the capacity to influ- his clients the freedom to augment or complete the design
ence society. The social component of interior design is a after moving in, or by incorporating items of the clients
fundamental aspect. good interior design does not have furniture in the design from the outset.1
to be commercially driven or particularly showy; it can be
self-motivated. An interior can also be still, modest and In the private realm, lifestyles are changing. The model of
unassuming a space that functions well, that is simply the nuclear family with a terraced house or a posh home
there and in which people feel comfortable. This quality in the suburbs is giving way to singles living in spacious
should not be the exclusive reserve of an elite group who penthouse apartments or factory lofts. Each of these dif-
regard themselves as the guardians of good taste, simply by ferent ways of living requires an appropriate interior design
dint of having the financial means (money creates taste response: for example flexible hive structures or fine-grain
Jenny holzer). regardless of earnings or background, cocoon structures in the centres of our metropolitan cities.
everyone is entitled to enjoy a better quality of life through In ideal circumstances, the interior design and the archi-
interiors in which they feel at ease. good interior design, tecture work together in unison, or alternatively the user
or for that matter taste, is not a question of wealth, gold tap may wish to create a discrepancy in either case, what is
fittings or designer status symbols such as le corbusiers important is a standpoint that always considers how peo-
chaise longue (which does not mean to say that these do ple will feel in that space when visiting it as well as when
not have their place). Inconspicuous mainstream design spending prolonged periods of time in it whether they will
can be equally well suited as out-of-the-ordinary design, enjoy whiling away time there or feel unpleasantly cooped
although the latter always runs the risk of dividing opinion. up. good interior design helps engender a sense of well-
being, whatever the circumstances in life, and helps create
human-centred interior design aims to engender that quality of life so that people feel happy in the environment
much-cited sense of well-being, whether it be a feeling they are in. 32
A pleasant atmosphere,
comfort and high-quality
materials support the process
of recovery in hospital.
Sana Hospital, Bad Wildbad, Germany;
100% interior Sylvia Leydecker
29
In Between
30
So c Ia l D I m e n S I o n
The attractive
mirrored mosaic in
the waiting room of a
paediatricians practice
is better than a myriad
of toys. It follows the
contours of the wall
and is also washable.
Practice for Paediatric Medicine
and TCM, Drs. Schumann-Winckler-
Schumann, Cologne, Germany;
100% interior Sylvia Leydecker
31
In Between
32
co lo U r a n D m ate r Ia l
33
In Between
90
.0
.0
90
0
AIRCO
O
AIRC
0
.0
90
78.6
PC PC PC
61.1
90
VAATWAS
KAST
gas
90
90
90
34
co lo U r a n D m ate r Ia l
35
In Between
36
co lo U r a n D m ate r Ia l
37
In Between
An elegant,
minimalist staircase
in a renovated
old farmhouse
leads upwards, its
lightweight sculptural
form accentuated by
the use of invisible
supports and materials
such as marble
andglass.
Casalgrande Padana, Conversion
of an old farmhouse, Casalgrande,
Reggio Emilia, Italy;
Kengo Kuma & Associates
38
co lo U r a n D m ate r Ia l
39
In Between
40
Va lU e S
41
In Between
restaurants for example and high noise levels in offices, Designer Cratif
42
tr e n DS
43
In Between
44
tr e n DS
45
In Between
46
tr e n DS
47
In Between
48
Th e E r a
49
In Between
The interior of
this Japanese
residence is
characterised
by the subtle
interplay of
materials,
traditional
shoji
proportions
and nature.
Kitanokaze; Nakayama
Architects
50
tH e e r a
51
In Between
Building Types Restaurants and hotels are a favourite field of work for
interior design offices because high-quality interior design
Numerous different areas of work are relevant for inte- is known to represent a competitive advantage. Guests
rior design: from private houses, trade fair stands, office should feel and want to feel attracted to the interior.
interiors or healthcare facilities to schools, hotels or the The interior design plays an essential role in creating a
sensitive conversion of historic buildings. sense of hospitality and is indispensable for good hotel
and restaurant experiences whether for a luxury burger
As Louis Sullivan postulated in his credo form follows func- bar or low-budget city hotel or an exclusive star restaurant,
tion, aesthetics are inseparably bound up with function. cocktail bar or a grand hotel.
Formation processes in nature are always influenced by
functional requirements and for the most part, people find A further interesting area of work for interior designers is
them beautiful. There is a seamless transition between the shop design; here interior designers are most often com-
rational and emotional aspects of a design, which translates missioned to design attractive, individual and therefore
in space to the correspondence between emotional well- authentic shop interiors. Shop design is both about com-
being and smooth working processes. The functional and municating a brand identity as well as an efficient interior
technical aspects of interiors for the elderly, for example, and works hand in hand with traditional shopfitting. The key
which are attracting greater interest as society ages as a parameter is the turnover and profit per square metre both
whole, focus on requirements such as barrier-free access, in retail shops as well as department stores. But retailers
process optimisation, energy efficiency, fire safety, cost are increasingly becoming cross-channel players who oper-
effectiveness, hygiene, accident prevention, incontinence, ate several parallel distribution channels at once physical
multimorbidity, dementia, etc. At the same time, the olden stores, online shops and mail-order print catalogues. The
days are of relevance in interiors for dementia sufferers, shopping world is therefore in a state of flux.
because traditional reminders of how one once lived refer
to the individual biographies of the residents, helping The work of interior architects for private clients often
them to feel more at home. Good interior design, like begins with simple lifestyle consulting and can range from
biographical therapy, does not look solely to the past but showroom apartments for housing associations to private
looks firmly to the future from the present. This can mean villas in the high-end luxury segment. Loft conversions and
taking account of future developments in care concepts tips on how to maximise space in a small hallway are
that may give rise to different ways of staff organization, also part of the work of interior designers. Solutions for
as well as current developments in science and technology everyday needs are meaningful and important to people,
that help to improve work processes. In this respect, flex- and are a more realistic reflection of what goes on outside
ible spaces are sustainable in the true sense of the word. the pages of glossy magazines. This is not the place for
This applies equally to office interiors, hotels and other prize-winning design experiments but for down-to-earth,
interior spaces. practical solutions. Having acted as a resident expert
for two live German radio call-in shows on the topics of
Healthcare encompasses a wide range of interiors from What to do with an empty room when the children leave
the traditional doctors surgery and medical care centre to home and Redesigning the home, I have experienced
wards in hospitals or rehabilitation centres to care homes first-hand what it means to help solve often quite banal
and hospices. On the one hand, healthcare interiors should and everyday problems.
optimise processes and workflow and fulfil hygiene require-
ments, and on the other they must give patients and their The concept of an exhibition is a holistic affair in which both
relatives a sense of security, trust and reassurance as well the venue as well as the didactic concept of the exhibition
as serve as an attractive environment for staff. plays a role. In addition, routes through the exhibition,
security aspects and conservation requirements such as
Commercial trade fair stands, on the other hand, serve illumination and air humidity levels also need to be care-
typically as an advertisement for a company, and must vie fully considered. In museums, theatres and cinemas, large
for attention with other stands in the immediate vicinity. numbers of people come together to be entertained, which
They need to serve as a magnet for the envisaged target entails incorporating a whole series of necessary security
group, display the products or services effectively, should and safety considerations into the overall design concept
be easy to assemble and disassemble, and in many cases for the interior.
be re-usable and modular. They should contain spaces for
presentation as well as communication, and sometimes Over the last decades, wellness has developed internation-
also for refreshments and comestibles. The production of ally into a vast market, generating a need for spaces with
trade fair stands is a fast-moving business that requires an especially soothing atmosphere. Recreational interiors,
commitment and the willingness to work under constant such as swimming pools but also yachts and private aircraft,
pressure. There are many players involved and the field is can be significantly enhanced through interior design, but
hotly contested by a variety of competitors. such tasks typically require specialist knowledge generally
learned in practice and not during studies, for example
in the use of specific materials or construction methods.
52
BUIlDInG t YPeS
53
In Between
54
BUIlDInG t YPeS
Chairs climbing
up the walls
Private residence, Toronto,
Canada; Jennifer Worts
55
In Between
Down-to-earth: a clearly
structured office environment
with integral lounges for
informal communication.
Aareon AG office, Mainz, Germany;
andernach und partner
56
BUIlDInG t YPeS
57
In Between
58
B u I ld I n g t y p e s
59
In Between
27,00
1
2 3 Molton, schwarz
Durchgang
Dur g Durchgang
D g D
Durchgang
g D
Durchgang Durchgang
Durchgang
3,9
0,45 0,45
0,9
1,7
4,0 2,9 0,1
7,0
5,9 6,0
Du
Durchgang
a g Durch
D
Durchgang
hg
gang
ang
g D
Durchgang
g D
Durchgang
g D
Durchgan
Durchgang
ngg
0,1
60
B u I ld I n g t y p e s
61
Developing a
Discipline: Interior
Design Education
and Research
Joanne Cys
Interior design has a relatively short history and it is gen- of the author.1 Within the last decade another history has
erally accepted that it is still developing as a discipline, emerged. Influenced by feminist theory, it reveals the
a professional practice and a field of research. The role practice, motivations, limitations and opportunities of the
and contribution of specialised interior design education individuals who founded the profession, as opposed to
has evolved, and is evolving, in parallel with the matura- the conventional presentation of a chronology of interiors
tion of the discipline. Education historically served to designed mostly, but not always, by architects.
legitimise and professionalise interior design practice by
distinguishing qualified practitioners from untrained Pioneer practitioners of the late 19th and early 20th centuries
amateurs, namely the interior decorators who had pio- had no formal qualifications in the specific field that was
neered the practice in the United Kingdom and North to become their profession, a field initially called interior
America during the late ninetee 19th and early 20th centu- decoration and now known globally as interior design and,
ries. This chapter will focus upon the context, relevance in some regions, as interior architecture. They professed
and contribution of interior design education: originally (and published) their expertise as innate good taste and
as professional training; then as study content required to style. As Stanley Abercrombie points out: Near the begin-
meet standards of graduate capability (in some regions ning of the century Elsie de Wolfe could declare herself
manifest as for programme accreditation and knowledge a professional simply by having some cards engraved,
required for examination for certification to practice or announcing her availability as a designer: there were no
use of title); and increasingly as research contributing to standards.2 Yet there is evidence that many participated
both the theoretical knowledge of the discipline and the in activities to gain knowledge and skills to influence and
practice of the profession. extend their creative practice. Although not formal learn-
ing, activities such as travel, writing and publication, visual
Traditional texts included in curricula for interior design art appreciation and association with others that afforded
students have largely portrayed interior design history as opportunities for skill and knowledge development were
a history of interior spaces, regardless of the profession indeed educative. In the USA, journalist Ruby Ross Wood
62
instructed herself as the ghostwriter for Elsie de Wolfes educators around the world to carefully consider their
The House in Good Taste (1913) and later produced her academic practice and the positioning of their interior
own interior decorating text;3 Frances Elkins accompa- design programmes. As Joo Yun Kim identifies, inte-
nied her brother, architect David Adler, when he travelled rior design is actually a place where any other designers
abroad to study at the cole des Beaux-Arts;4 and Eleanor from other fields, such as architects, industrial designers,
McMillen undertook courses in business and art history. 5 can easily approach and work in Am I a person who
UK designer Eileen Gray enrolled in drawing courses at educates students to become designers similar to archi-
schools in London and Paris and sought lacquer lessons tects but not architects? 15 Forsome commentators such
from a Japanese master.6 In Australia, Marion Hall Best as Suzie Attiwill, the questions of professional identity
made use of her acquaintance with a professor at Sydney (who creates interiors) and professional territory (what
University to attend architecture lectures.7 Others, such interior design is) are not the most critical factors for the
as Syrie Maughan in the UK undertook on-the-job train- profession and education. She suggests that it is in the
ing in Fortnum & Masons antique department. 8 Pioneers greater interests of the discipline to pose questions in
such as Candice Wheeler and Eleanor McMillen publicly relation to practice asking how as distinct from what
espoused the importance of education and actively pro- is interior design? or who is an interior designer? 16 This
moted it through published articles as an attainment that presents another role for interior design education, to not
distinguished professionals from amateurs. 9 It was in this only provide skill and training for professional practice,
context of desire for professional acknowledgement that but to contribute to a disciplinary body of knowledge
formal interior design programmes were consolidated in and a field of research. This is evidence of a maturing
design schools in many regions around the world during the of thinking about interior design research: its role in the
1930s, 1940s and 1950s, simultaneous with the ascension education of future interior designers, its position within
of national professional associations and the publication the global academy and its contribution to the continuing
of interior design journals. development of a body of knowledge for this relatively
new discipline.
Many contributors to the creation of significant works in
interior designs brief history, however, have been educated In his review of the literature of women in interior design
in something other than interior design. Penny Sparkes history, John Turpin proposes that the lack of scholarship
A Century of Design: Design Pioneers of the Twentieth dedicated to interior design history is due to the fact
Century10 describes the majority of influential creators of that most academics in the discipline do not possess an
important interiors as architect-designers or as figures advanced research degree. It should also be acknowledged
in architecture and design, yet of the 82 individuals she that a high proportion of interior design academics do not
profiles, only Finnish designer Antti Nurmesniemi is cred- hold professional qualifications in the field and therefore
ited with an interior design qualification.11 Possibly the their research interests are likely to be focused elsewhere.
best known of all British interior designers, David Hicks There is also evidence of confusion, or ignorance, regarding
studied at Londons Central School of Art and Design, interior design within other academic disciplines. In the
where he undertook a broad curriculum during the 1950s.12 introductory chapter for their edited issue of The Journal
Hicksreflected on his education: Qualifications are impor- of Architecture Barbara Penner and Charles Rice explain
tant, but even more vital is any period of relative freedom that the articles in the journal explore the domestic inte-
that can be spent exploring alternatives to the fullDuring rior through a cultural perspective and define a new
this process of exploration, I realized that I would never field of inquiry into the interior, one that is of particular
reach the top in any of the fields I had chosen to study: relevance to historians, theorists and architects concerned
theatre design, painting, book illustration or typography. with the positioning of domesticity within contemporary
What I did discover was a profound and lasting interest in culture.17 The value of this research to interior designers is
the way people live. 13 not recognised here. Lucinda Havenhand recounts another
example whereby the call for papers for an Association
The complexity of the connection (or lack of connec- of Collegiate Schools of Architecture conference invited
tion) between academic qualification and the field of contributions from a range of allied and associated fields,
professional practice continues today. When asked to but not from interior design.18
nominate the leading interior designers of recent times,
interior design students across the globe are likely to John Turpin takes a fundamental and grounding position
offer names such as Philippe Stark, Petra Blaisse, Eva when he reminds us that First and foremost, the future
Jiricn, Mark Newson, Zaha Hadid, Andre Putman and of interior design lies in its students. Their perceptions of
Thomas Heatherwick. Of this example group of globally the world are, for the most part, based on the information
renowned designers, only Philippe Stark undertook for- they receive during their education. 19 For the future of
mal interior design education. Stark was registered as a the profession, it is critical for interior design education
student of furniture and interior design at the Camondo to find motivation for development beyond what has been
School in Paris in 1968 but, it seems, was seldom present at described as Interior designers near-paranoiac need to
classes. 14 This condition has caused some interior design define this is what we do. 20
63
D e v e lo p i n g a Di sci p li n e
Instead of continuing academic and professional emulation result from (Masters level) education that must prepare
of architecture, Havenhand encourages interior design to future practitioners to implement evidence-based design
accept its marginalized position and learn from Karen criteria into the design process and thus improve the qual-
Francks Womens Ways of Knowing to identify the ity of the designed environment. 27 Guerin and Thompson
valuable approaches such a perspective can provide for maintain that educators must teach interior design students
interior design education and practice. She urges interior the value of research28 and that through their proposed
design to acknowledge its marginality [to] provide Masters level education model, Interior Design stu-
a starting place for change, innovation and the success- dents will be trained to be good consumers of research to
ful establishment of an autonomous and distinct identity ensure that the spaces they design in practice enhance
for it. In this light interior design can be seen as having the health, safety and welfare of clients and all users of
the potential for being a truly transgressive, creative, and interior spaces. 29 Although there is acknowledgement of
transforming activity with a unique role to play in design the need for a partnership30 between design educators
practice and education.21 and design practitioners, Guerin and Thompsons view of
research is fundamentally as a service to practice.
Scholars Ellen Klingenberg, Andrew Stone and Suzie Atti-
will perceive the benefits of participation in a discipline, Caren Martin and Denise Guerin31 formalised the study The
an area of study or a field of research that neither directly Interior Design Professions Body of Knowledge (IDBOK)
results from, nor is the generator of, interior design prac- with an extensive literature search of publications within,
tice. Describing the approach to interiors education at the and related to, interior design. The listing is predomi-
Faculty of Design at Oslo National Academy of the Arts, nantly comprised of quantitative scientific and behavioural
Klingenberg positions interior architecture as an entire research publications that justify the public importance of
field of study rather than as discreet entities of academia interior design which is a regulated and protected profes-
and practice. She observes that, historically, what interior sion in some states of the US. Earlier writing by Guerin and
designers do as a practice has set the standard for interior Martin32 describes their approach to defining the body of
design education and argues that it is now necessary to knowledge through a review of documents from pro-
describe the difference between field and profession, fessional interior designers representative stages of the
sothat the field of interior architecture can be described as career cycle, that is, education, experience, examination,
something in itself, a field for research and development, and regulation. 33 As David Wang and Ali Ilhan claim, 34
regardless of the profession. 22 In acknowledging that much this suggests that there is no body of knowledge for inte-
interior design knowledge is silent, being undocumented, rior design other than that which is directly related to,
unwritten and unpublished, Klingenberg23 calls for the orfiltered through, practice.
development and dissemination of a kind of theory for
the discipline that is generated by, and applicable to, both An example from Europe demonstrates a balance between
academia and practice alike. Stone also identifies gains that a system of academic accreditation and encouragement for
may result from an approach to interior design distanced research leadership and exploration in the field. TheEuro-
from professional practice. Within the context of tertiary pean Council of Interior Architects (ECIA) has established
design education in the United Kingdom, he asserts that the Charter of Interior Architecture Education, a recogni-
education needs to provide future interior designers with tion programme for accredited institutions across the
the ability to reflect seriously and confidently on their European Union. As a system of formal accreditation,
subject to distance themselves from industry demands theprogramme acknowledges the role of interior educa-
in order to invest in the subject critically and creatively. 24 tion to not only prepare students for practice, but also to
Stone proposes that there is opportunity and need for lead the profession in new directions through research.
education to address the relevance of practice in less
commercial realms such as speculative practice social The work of Tiiu Poldma, an academic within the North
responsibility technological innovation [and] spatial American interior design paradigm that Guerin and Dickin-
experimentation. 25 Participation and skill development son also occupy, represents another shift toward a broader
in methods of speculative and experimental practice is perspective of the discipline. Poldma identifies a goal of
a whole of career investment. Attiwill also views interior research to move a profession forward and give it tools
design education as an ongoing experience, something that that are transferrable into other domains. This forward
does not end upon entry to the profession. She provides movement gives a profession the means to develop towards
moderation with her proposal to counter-pose the expec- a discipline. 35 Poldma explains that academic research can
tation of the profession of graduates with the expectation forge new knowledge and innovation through the study
of graduates of the profession. 26 of both process and practice As an emergent discipline
interior design must respond to new ways of thinking and
Other commentators, however, connect interior design doing that consider multiple cultural, economic, and
research more closely with the profession. US academics political contexts. 36 Poldma goes on to identify issues of
Denise Guerin and Jo Ann Asher Thompson argue that human ethics, democratisation of space and historical nar-
universal acceptance of the value of interior design can rative that should influence interior design as a discipline.
64
Te achi n g a n d R e s e arch
as information gathering for, and justification of, decisions Design: Design Pioneers of the 31 Martin, Caren and Guerin,
Twentieth Century (Heuppauge, Denise (2005), The Interior Design
in practice. It is a position that recognises the contribution
NY: Barrons Educational Professions Body of Knowledge,
of education not only to practice, but to the development Series, 1998). http://knowedgecentre.iida.org,
of the discipline as a whole. 11Sparke (1998), p. 206.
accessed on 6.02.12.
15 Joo Yun Kim, Interior Archi- 34Wang, David and Ilhan, Ali,
tecture: the State of the Art, in Holding Creativity Together:
Interior Design: the State of the Art A Sociological Theory of the
(Singapore: IFI, 2006), p. 28. Design Professions, Design Issues,
vol.25, no. 1 (2009), p. 11.
16 Attiwill, Suzie, Whats in
a Canon? in Gigli, John et al. 35Poldma, Tiiu, Interior Design
(Eds.), Thinking Inside the Box: at a Crossroads: Embracing Spec-
a reader in interiors for the 21st ificity through Process, Research,
century (London: Middlesex and Knowledge, Journal of Interior
University Press, 2007), p. 65. Design, vol. 33, no. 3 (2008), p. xv.
65
Wilkinson Residence,
Portland, Oregon,
USA; Robert Harvey
Oshatz
66
sustainability:
inDustry stanDarDs
anD innovation
liliane Wong
sustainability through the european 2020 strategy and the American 2030
Challenge aim to achieve 20 % energy savings as initial
inDustry stanDarDs steps toward long-term energy and climate change goals.
these goals may be met through the adoption of sustain-
within the building sector today, it is universally accepted able practices that promote integrated whole-building
that buildings contribute in a significant manner to cli- planning, design, construction and operation, innovative
mate change through both consumption and emissions. design with minimal environmental impact, building man-
In the eu, buildings account for 40 % of its annual energy agement with a reduced life-cycle impact on the environ-
consumption and 36 % of its CO2 emissions.1 similarly, the ment and even on-site production of renewable energy.
American building sector consumes nearly half (49 %) such practice extends well beyond the building profession
of all energy produced in the usA and is responsible for to management, education, development, business and
46 % of its CO2 emissions. 2 the fact that buildings are the real estate. while sustainable practice has been in use for
major source of global demand for energy and materials some time, especially in europe, it is relatively uncharted
that produce by-product greenhouse gases (gHg)3 has as a global endeavour. environmental assessment meth-
generated initiatives worldwide to reverse this trend by odologies, in the form of rating systems, have emerged in
reducing and maintaining a global average temperature order to provide some measurement of the efficacy of such
of less than 2 C above pre-industrial levels. the build- practice. there are over 600 such rating systems worldwide
ing sector constitutes the single largest economic and today and they fluctuate in scope, from one to the next, in
environmental opportunity for a collective reduction of measuring the different aspects of sustainability social,
gHg levels. environmental and economical.
67
s u s tA I n A B I lIt y
68
R AtI n g sys te M s
rating systems these form the basis of many other similar systems around
the world including switzerlands Minergie, germanys
green rating systems are tools that examine the perfor- dgnB system (german sustainable Building Council),
mance or expected performance of a whole building and portugals liderA, singapores BCA green Mark (Building
translate that examination into an overall assessment and Construction Authority), and taiwans eewH (ecol-
for comparison against other buildings.4 the development ogy, energy saving, waste Reduction and Health). Many
of these systems began in the uK with the introduction countries have also adopted rating systems through their
of BReeAM (Building Research establishments environ- membership and chapter in green building councils and
mental Assessment Method) in 1990. this was followed organisations such as the world green Building Council.
in succession by the French system HQe (Haute Qualit today, BReeAM and leed have emerged globally as the
environnementale) in 1992, the Hong Kong BeAM (Building two most recognised and used systems.
environmental Assessment Method) and the international
gBtool (now sBtool) of the iisBe (International Initiative
for a sustainable Built environment) in 1996, the usA leed
(leadership in energy and environmental design) and the
Canadian green globes in 2000, the Japanese CAsBee
(Comprehensive Assessment system for Built environment
efficiency) in 2001 and the Australian green star in 2002. 5
The character of
the outdoor areas
is continued into
the interior of this
office for a furniture
manufacturer.
Samas Office Furniture
Headquarters, Worms, Germany;
100% interior Sylvia Leydecker
69
S u s tai n abi lit y
Most rating systems consist of a suite of tools that assess Interior design, as an individual discipline, is not addressed
a building through its construction type and space use. as a separate category within most rating systems. Where
Construction type differentiates between new and existing differentiations are made between new construction and
construction with further distinctions, in some systems, of existing buildings, interior design issues are addressed in
core and shell, commercial interiors and limited construc- the latter category. In many cases, the systems address
tion/operations and maintenance. Space use categories indoor issues, typically termed Indoor Environmental
include retail, healthcare, education, commercial, indus- Quality (IEQ), which include aspects of building perfor-
trial, domestic and community development. The systems mance that impact the health and well-being of the occu-
universally address issues of global and local environments, pants. This category includes safety and security, hygiene,
internal environment, design assessment, operation of the indoor air quality and ventilation, thermal comfort, lighting,
building and its management. Some systems also have the acoustics and building amenities.
capability for assessing the management, operation and
maintenance of a building at any post-occupancy period. The rating systems that specifically address interior design
Rating categories are further separated into land use, water are few and include Green Globes, Green Star and LEED.
use, energy and the atmosphere, transport, materials, The Green Globes rating system includes the tool Fit-Up,
indoor environmental quality and, in some cases, inno- which is both a guide and an assessment protocol for
vation. Within a system of designated points, an assess- commercial interiors. Issues of Indoor Environment, Pro-
ment of the whole project is premised on the total points ject Management, Energy, Emissions, Effluents & Other
earned from each of the categories. Most systems weigh Impacts, Resources-systems Options and Materials and
the points equally with the sum total leading to a rating of Water are addressed through an interactive, online ques-
the building. The ratings differ from system to system, with tionnaire. While third-party verification is possible, Green
star ratings from 1 to 6 for Green Star, bronze/silver/gold/ Globes generates an online report based on a completed
platinum for LEED and pass/good/very good/excellent/ questionnaire. The Green Star system offers the category
outstanding for BREEAM. Office Interiors in Australia, South Africa and New Zea-
land. This category is designed for owners, tenants and
There are many similarities in the general organisation of interior designers to assess the impact of office tenancy
rating systems each with the primary purpose of measur- fitout, both during the design phase as well as in post-
ing the sustainability of the built environment. These tools construction. Issues include access to natural light, waste
ultimately serve an extensive circle that surrounds the management, energy conservation, materials manufacture
primary user group of built environment professionals and and use. Thistool is accessible to all users, but a project
includes developers, building management, members of the can only claim such certification if used by GBCA (Green
real estate sector, manufacturers of materials and products, Building Council of Australia) certified individuals. LEED
code officials, organisations for the protection of the envi- Commercial Interiors similarly provides a green benchmark
ronment, sectors of the health profession and even build- for tenancy and high-performance interiors. Its rating cat-
ing tenants. While some rating systems were developed egories are Sustainable Sites, Water Efficiency, Energy and
in conjunction with government-related agencies (Green Atmosphere, Materials and Resources, IEQ, Innovation in
Globe, BREEAM), many rating systems were developed by Design and Regional Priority. LEED Commercial Interiors
private, non-profit organisations. The major rating systems is designed for complementary use with LEED Core and
set strict standards for practice and contrast with green Shell, as a specific rating system for developers, owners
building codes that establish minimum requirements for and tenants.
sustainable practice. The rating systems are voluntary
and not generally integrated with governmental building
regulations, although in some countries, rating systems
are adopted and enforced as building regulation. In the UK
where BREEAM was developed by the Building Research
Establishment (BRE), at the time a government-funded
research body, local governments have begun to require
compliance with BREEAM as part of their planning policies.
Wales and Northern Ireland have both adopted sections
of the BREEAM system into their local codes. InWales, as
of July 2008, for example, all healthcare buildings must
achieve a Very Good to Excellent BREEAM assessment. In
England, all new school projects must achieve a Very Good
rating as a condition of funding.
70
R AtI n g sys te M s
71
s u s tA I n A B I lIt y
evaluation
As evidenced by the proliferation of green ratings systems
around the world since their introduction in 1990, the
impact of these systems is potentially far-reaching. At a
minimum, these tools have raised the awareness of environ-
mental issues and encouraged sustainable practice in the
built environment at all levels of participation from policy
to planning, from design to construction, from resource
to product and from real estate to tenancy. For building
professionals, these complex rating systems provide a
practicable structure and framework for measurement and
assessment. Often these systems complement building
codes and regulations and, in many cases, they exceed
them. For governments, they can and do serve, in the
instance of BReeAM and policies of wales and northern
Ireland, as a link to governmental energy policies. For indi-
viduals from building managers to tenants they provide
a method of evaluating and improving maintenance and
operation of buildings that reduce their impact on the
environment. this overall level of awareness should not
be underestimated.
72
R AtI n g sys te M s
73
s u s tA I n A B I lIt y
A study of French HQe-certified buildings indicated that the cost aspect of building certification raises the issue of
certified buildings, in fact, performed better than non- economic divide. while data demonstrates that the ulti-
certified buildings, but not as well as forecasted in the cer- mate cost of a certified building is not significantly higher
tification process.6 this is consistent with findings around than that of an uncertified one, many additional costs exist
the world. such findings, however, have not affected public in the assessment process. these so-called soft costs
perceptions of certified buildings. Real-estate market include the use of the rating system and materials, project
studies in the usA indicate that green office buildings registration fees, fees associated with certification and
demand higher rent, hold a higher rate of occupancy and design team fees. Indirect costs also include the cost of
have a higher resale value than non-green buildings of time for a certification process that can take from a week
a similar nature.7 such perception questions the rating to two months, fees for membership with green Building
systems use of points as an indication of success. there is Councils and costs of education and testing for certifying
conjecture that design professionals are more interested design professionals. In the usA, recent costs associated
in the acquisition of points and owners with the economic with leed certification that included registration, docu-
benefits and prestige of certification than with effective ment submission, Ap document gathering and design team
sustainable design. the term leed brain has been coined documentation ranged from 22,000 usd to 100,000 usd.11
to describe what happens when the potential pR benefits
of certification begin driving the design process. 8 such the green rating systems have made significant progress
conjectures damage the reputation of the systems and in quantifying the impact of building on the environment.
their potential for influencing energy policies in the built Cynics, though, point to the low number of buildings certi-
environment. fied over a period of 20 years: 200,000 through BReeAM
and 9000+ through leed. the dissemination of such
the development of a universal rating system is a distant quantification methodologies alone, however, is an enor-
ideal. the regional variations of climate constitute one mous benefit. It is important, too, to recognise that no
important factor among many that explains why the sys- environmental assessment system is perfect. By virtue of
tems differ dramatically from criteria to scores. A com- its quantification, the system does not have the capacity
parison of assessment criteria for twelve different rating to address aspects of the built environment outside this
systems used in the uK, Asia, europe, us and Australia that intentionally limited view. It is a tool for measurement,
focused on fifteen key issues including energy, CO2, Indoor not for design.
environmental Quality, land use, renewable technologies,
transport, waste and water indicated that none of them
used the same list of criteria for assessment. 9 In a study
published by BRe, the findings indicated that there was
no equivalent for BReeAMs rating of excellent. A rating of
very good in BReeAM was found to be equal to platinum
and six stars, the highest scores respectively in leed and
green star, while there was no such equivalent in CAsBee.10
this lack of consistency and parity between systems does
not allow for a universal standard of comparison.
74
s u s tAI n A B I lIt y tH RO u g H I n n OvAtI O n
sustainability through
innovation
Exposed concrete with soft moss
One proposed solution for the reduction of greenhouse inhabiting its cracks, blown up in scale
gases (gHg) is to attain fossil fuel reduction standards
to create a dramatic graphical pattern.
through implementing innovative design strategies.12
Orto Living Covering; IVANKA Concrete Design
despite its unquantifiable characteristics, the importance
of design innovation in sustainable strategies for the built
environment is recognised in some of the major rating sys-
tems. BeAM, BReeAM and leed each address the subject
of innovation as extracurricular; an achievement beyond
the methods of established best practice. Innovation is
rewarded with bonus points. BeAM does not provide a
prescribed path for innovation; rather it allows a client to
submit such proposals for evaluation and consideration.
projects assessed through BReeAM can receive bonus
points either by exceeding established best practice criteria
or through a proposal requesting assessment for innova-
tion. leed assessment criteria include specific descrip-
tions for earning ten possible bonus points that permit a
project to score 110 %. six out of these ten bonus points
are allocated for Innovation and may be earned through
any combination of three paths: achieving significant and
measurable performance not addressed in leed, achiev-
ing exemplary performance by exceeding leed criteria or
attempting a pilot credit. this approach to ecology in the
built environment addresses the demands of a changed
and rapid world through strategies that embrace the intan-
gible characteristics of flexibility, adaptability and multi-
functionality.
75
s u s tA I n A B I lIt y
76
s u s tAI n A B I lIt y tH RO u g H I n n OvAtI O n
77
s u s tA I n A B I lIt y
embracing small is a visible trend today, both in residential while net zero energy is the ultimate goal of many compact
and commercial projects. In residential design, modern-day residential projects today, there is also a focus on making
successors to the compact apartments of nagakin towers a smaller impact on the environment through a smarter
reflect a reversal from the McMansions oversized subur- lifestyle, one with fewer encumbrances. this is challenging
ban houses that are incongruous in scale and aesthetic to in a consumer-driven society, but sculp(It), a four-storey
their surrounds. Most compact houses today are defined by office/residence in Antwerp, embraces this notion of less
the efficiency and flexibility of an open floor plan. A well- is more. sited on a narrow 2.4 m / 7 ft 10 in lot, each storey
orchestrated design meets programmatic needs through houses a different function: office, kitchen, bedroom and
such a multifunctional attitude. the Micro Compact Home bathroom. In contrast to the Micro Compact Home, where
m-ch, a 7 m2 (76 sq ft ) project, developed by researchers multiple functions coexist in a single compact space, each
and designers in london and at the technical university miniscule floor plan accommodates requisite functions
in Munich, exemplifies this approach. A cube measuring through a spartan approach of minimalism.
266 cm x 266 cm x 266 cm / 8 ft 8.7 in, the m-ch is designed
for and adapted to the dimensions of the human figure in
essential domiciliary activities. designed especially for
students and vacationers, it features two double beds,
storage, a sliding table to seat up to five, a bathroom and
a fully equipped kitchen. A low-e version of the m-ch is
powered by photovoltaic solar cells and a wind genera-
tor. when no longer required, the m-ch is designed for Narrow sites with very little space
recycle and disposal in which the materials can be re-used require out-of-the-ordinary interior
for another home. In an eco-analysis from materials, con-
struction, manufacture, delivery to final disposal, the low-e
design solutions.
Narrowest Apartment in Antwerp,
home is potentially zero CO2 emissions.14
Antwerp, Belgium; sculp(IT)
78
s u s tAI n A B I lIt y tH RO u g H I n n OvAtI O n
79
s u s tA I n A B I lIt y
80
S u s tai n abi lit y Thro u g h I n n ovatio n
Rather than avoiding these obstacles through formal or In embracing the notion of small, architects and design-
logistical gymnastics, the tactic of catalyzing constraints ers search for increasingly complex and inventive solu-
generates an impassioned inquiry into the unavoidable tions for the design of the compact structure. Inher-
limits of architectural production. 15 Viewed as opportu- ently sustainable through size, small structures are not
nities for generative solutions, these projects accept necessarily valued only for this efficiency. In 2010, the
predetermined restrictions and shift the focus of design Victoria and Albert Museum invited seven international
intervention elsewhere. The restrictions here included architects to design and build small full-scale structures
both a dimensionally limited envelope and economically in the museum, resulting in the exhibit 1:1 Architects
driven requirements for the greatest capacity of seats, Build Small Spaces. As a celebration of small space, the
circulation and service space. In each case, the floor plans exhibition investigated small-scale structures and how
are organised simply so as to maximise programmatic they can define and enhance notions of everyday experi-
requirements: the Tides Restaurant with a line of tables ence and personal space.16
and built-in banquettes; the Ini Ani Coffee Shop with spare
seating arrangements that differentiate the varied activities
of the caf lounge; in Dash Dogs, a single linear counter, MODULAR MEANS
strategically placed to direct the client traffic from door
to order window to pickup and exit. The energy efficiency of m-ch and other compact homes
on the market today is due, in great part, to modular con-
The design investigations instead focus on the interior skin, struction and prefabrication. Modularity as a method is one
wall, floor and ceiling surfaces not required for program- that successfully addresses wasteful processes in design
matic functions. As a canvas for innovation, these planes and construction. Todays compact houses are primarily
are addressed as homogeneous internal membranes rather modular. As in the Nagakin capsules, also fabricated off-
than as opportunities for the application of various treat- site and hoisted in place, they are factory-fabricated and
ments. At the Ini Ani Coffee Shop, two separate surface shipped to an intended site. The ecology of being small is
treatment volumes are created one of corrugated card- coupled with the benefits of prefabrication reduction of
board strips, compressed in a steel cage, and the other of materials waste, reduction of construction waste, minimal
plaster, cast with plastic coffee-cup lids. In a single open structural foundations and lower embodied energy all of
space, these volumes serve to differentiate the lounge which contributes to a smaller carbon footprint and alower
area with its self-absorbed WiFi clientele and the service impact on the environment.
counter with its bustle of take-out customers. At Dash
Dogs, where the client space is only half as wide as its Modular construction is most often used in new residential
depth, an internal membrane is inserted to create order, applications. The benefits of modular construction are
both physical and visual, in a high-volume retail setting. now extending to existing buildings as modular retrofit.
The membrane, aband of steel strips, runs continuously In large and repetitive institutional projects, the use of
from a sloping ceiling to the sloping floor, referencing the modular units in retrofit is both economically and ecologi-
mechanical people mover. At the Tides Restaurant, an cally beneficial. In a systems upgrade project for a college
inner volume is created on the ceiling of an undulating dormitory, bathroom pods were fabricated off-site and
topographical landscape of sea grasses, constructed from hoisted through the windows. This method of replacement
bamboo skewers. Optical film on the glass entry doors realised an enormous reduction of construction waste and
distorts the diners views, contributing further to the sen- time. On an individual scale, modular retrofit kits such as the
sibility of shifting surfaces. Modular In-Home Office are used to create a room within
a room. With the goal of minimising heating costs in home
Xocolatti, a chocolatier in SoHo, Manhattan, NY, illustrates offices, the kit provides an innovative low-tech solution
a similar approach to flexibility within a retail setting. In a to zoned heating. Utilising the concept of the common
14 m2 / 150 sq ft rectangular storefront, an inner membrane greenhouse, the kit consists of wood frames, covered with
is created from walls of stacked green signature choco- an insulating wrap material, that serve as walls of an in-
late boxes. These walls of boxes some closed and some home office space. This kit is configured through creative
open to display the sweets simultaneously function as geometry to an existing window. With the window serving
wallpaper, display, storage and kinetic art. As the boxes as a source of heat and ventilation, a separate mechanical
of chocolates are sold, the wall pattern mutates, forming zone is created within the home, naturally heating only
a history of the days sales. asingle targeted location.
81
s u s tA I n A B I lIt y
82
s u s tAI n A B I lIt y tH RO u g H I n n OvAtI O n
83
s u s tA I n A B I lIt y
Through the
sparing but
creative use
of cheap
materials,
this boutique
has been
transformed
into a work of
sculpture.
Temporary concept
store for the Arnsdorf
Opticks collection,
Melbourne, Australia;
Edwards Moore
Out of the
box: modular
construction
efficient and
practical.
RIBA Foldaway Bookshop,
London, England; Campaign,
Claire Curtice Publicists
84
s u s tAI n A B I lIt y tH RO u g H I n n OvAtI O n
85
S u S TA I n A B I lIT y
A flexible system consisting of 200 cubes By contrast, the Illy pop-up store in Milan, in operation
during the Christmas season, was an opportunity to use
of different dimensions offers an infinitely
generative geometries as a vehicle for designing reconfig-
adaptable approach to defining space. urable space. A single cube (45 cm x 45 cm / 17.7 x 17.7 in),
Illy Shop, Milan, Italy; Caterina Tiazzoldi with Illy Art Direction
modulated through combinatory logic, yielded 3,000 con-
figurations with variations of the cubes physical properties
of depth, thickness, opacity and length. At the Milan store,
200 of these variations were used for functions specific
to the display of coffee products and espresso machines.
The adaptability of the cube to different conditions size
of product, accessibility of product, numbers of products
to be displayed, quantity of light required allows the
cubes to be reconfigured at another location.
86
S u S TAI n A B I lIT y TH Ro u G H I n n ovATI o n
87
S u S TA I n A B I lIT y
88
S u S TAI n A B I lIT y TH Ro u G H I n n ovATI o n
89
S u S TA I n A B I lIT y
90
S u S TAI n A B I lIT y TH Ro u G H I n n ovATI o n
Landscape and
interior meld
into one no
reason to step
outside
Norwegian Wild Rein-
deer Centre Pavilion,
Hjerkinn, Dovre,
Norway; Snhetta Oslo
91
S u S TA I n A B I lIT y
The exploration of the boundaries between related design Suitcase House Hotel, an experimental development near
fields has also yielded additional sites for multi-use. Prod- the Great Wall of China, further pushes the limits of recon-
uct design is the point of departure for the development of figurable space. The house, a 44 m x 5 m / 144 ft 4 in x
objects in the interior that transform to define space and 16 ft 5 in rectangle, blurs the division between inside and
serve as furniture. Mobile Fold-out Home office, a box-like outside, intimacy and exhibitionism, meditation and revelry.
product, serves as todays version of the historic secretaire. using similar techniques inspired by the manoeuvres and
Stick figure-type graphics stenciled onto the surface reveal architectural hardware used in the Domestic Transformer,
the many drawers and surfaces that transform the object an open floor plan with typical residential functions for
to a fully functioning workstation. loftbox, an unassum- two occupants has the potential to accommodate a music
ing rectangular volume, unfolds to serve as a small but chamber, a library and fourteen guests in seven possible
fully furnished living room. In its unfolding, the divide guest rooms. The design considers the different space
between product and space is eliminated. Similarly, the needs of a 24-hour cycle and employs multifunctional
field of graphic design, with its use of new digital printing devices to overlap these functions for maximum efficiency.
capabilities, has enabled the rapid transformations of an
interior space through the use of mutable wall treatments.
92
S u S TAI n A B I lIT y TH Ro u G H I n n ovATI o n
93
S u S TA I n A B I lIT y
94
S u S TAI n A B I lIT y TH Ro u G H I n n ovATI o n
Light,
geometry
Cross-fertilisation with electronics has yielded some of the
and space:
most dramatic developments that thrust the performative
role of space to new expectations. Applications are no precision-cut
longer directed only toward issues of spatial function but using a plasma
include a range from the emotive to medical diagnosis laser, the
and from surveillance to energy production. Botoxlamp
and Slow Furl are, respectively, light and textile applica-
folded sheet
tions within the interior that respond to human presence. aluminium
They have the ability to capture and also to make tangible lamp is
the human experience within its interior environment.
back-lit with
using networked lEDs within aluminium sheets, Botox-
lamp detects, reacts to and interacts with humans through energy-
various states of inertia and alertness. The lamps flash and efficient LEDs.
pulse to the presence of an inhabitant. Presented in 2011 BotoxLamp, Berlin,
at DMy Berlin, Botoxlamp is part of a trilogy of interactive Germany; The Princi-
installations. Similarly, Slow Furl is a large-scale textile pals Drew Seskunas,
installation that reacts and shifts slowly as it detects the SAQ Architects,
95
S u S TA I n A B I lIT y
96
S u S TAI n A B I lIT y TH Ro u G H I n n ovATI o n
many different settings, from tenant fitout within new core- the_problem/buildings_prob- 12 http://architecture2030.
lem_why. org/2030_challenge/the_ 2030_
and-shell construction to the re-use of a building, or part challenge.
3 http://architecture2030.
of one, with a complex structure and history. The practice
org/2030_challenge/the_ 2030_ 13 Eliel, Carol S., LEsprit Nou-
of adaptive re-use is routinely defined as transforming an challenge. veau: Purism in Paris 1918-1925 (los
unused or underused building into one that serves a new Angeles County Museum of Art in
4 Fowler, K.M. and Rauch,
association with Harry n. Abrams,
use. Within such a framework, every interior design project E.M.,Sustainable Building Rat-
Inc, 2001), p. 14-15.
ing Systems, completed by the
is, in essence, also a project of adaptive re-use. As a field of Pacific northwest national labo- 14 www. microcompacthome.
practice, adaptive re-use is rich and varied and its impor- ratory for the u.S. Department of com.
Energy by Batelle, July 2006, p. 1.
tance includes not only the re-use of existing structures 15 lewis, Paul, Tsurumaki,
5 The year the system was initi- Mark and lewis, David J.,
but also the re-use of materials, transformative interven-
ated is not necessarily the same Opportunistic Architecture (Prince-
tions, continuation of cultural phenomena through built as the year it was available for ton, ny: Princeton Architectural
infrastructure, connections across the fabric of time and public use. Press, 2008)
space, and preservation of memory all of which result in 6 Carassus, Jean, Are Green 16 Thomas, Abraham, v&A
office Buildings Keeping their Curator of Designs and curator
densely woven narratives of the built environment. 20 While Promises? Actual performance, of the exhibition 1:1 - Architects
the rating systems for assessing sustainability using indus- real estate value and HQE Build Small Spaces at the v & A,
Exploitation certification, com- dezeen magazine, 15 June 2010.
try standards cannot measure the effectiveness of such
missioned by the Centre Scien-
practice, the opportunities for ecological good through tifique et Technique du Btiment
17 Kaplan, David, A permanent
trend of pop-up shops, Houston
design innovation are immeasurably vast. If indeed the and Certiva, 2011, p. 11.
Chronicle, 11 December 2011.
greenest building is one that is already built, such inno- 7 Ibid., p. 18.
18 Benamor Duarte, Eduardo and
vation in interior design is already inherently sustainable. 8 Schendler, Auden and udall, Tiazzoldi, Caterina, Toolbox,
Randy, lEED is Broken lets Fix Int|AR Journal of Interventions and
it, iGreenBuild.com, The voice of Adaptive Reuse, vol. 2, 2010, p. 48.
Sustainable Design & Construc-
19 Cohen, Preston Scott, Dex-
tion, 9 August 2005, p. 3.
terous Architecture, Harvard
9 King Sturge, European Prop- Design Magazine, Fall/Winter
erty Sustainability Matters ret- 2008-09, p. 66.
rofitting buildings and places,
20 Berger, Markus, Hermann,
2009.
Heinrich and Wong, liliane, eds.,
10 Saunders, Thomas, A Discus- Editorial, Int|AR Journal of Inter-
sion Document Comparing Inter- ventions and Adaptive Reuse, vol. 1,
national Environmental Assess- 2009.
ment Methods for Buildings,
BRE, 2008.
97
you HaVe to be
insPired...
FasHion, MusiC,
art and sCienCe as
design insPiration
Marina-elena WaCHs
WHat does design/ How do people design things with such a beautiful, natural
presence, things that move me every single time?1 For
designing Mean and WHat Peter Zumthor, architectural quality is expressed through
do We understand by atmospheres. What at first sounds deceptively simple has
preoccupied philosophers for many thousands of years,
qualities? and the field of architecture and aesthetics for several
hundreds of years. over the past few decades it has also
Discussing design qualities in interior architecture requires found its way into the field of design and in particular of
that we first need to ask what we understand by design and interior architecture: the ability with the help of a particular
quality in the context of space. For the most part, it is clear atmosphere to generate and elaborate a space, to comple-
that the design of a space is determined by the functions ment an underlying mood with softer and louder elements
and the activities taking place within it, and that this must in the right rhythm and at the perfect moment to build up
follow a human-centred process. But interior design is to a crescendo at the climax of creativity.
not solely a product of reason. In addition to functional
and pragmatic considerations, there is emotion and nar- If an interior is to be designed for music, then once again
ration as well as something we find agreeable but hard to it is the functions, room programme or surrounding func-
identify that gives space a quality that enriches our lives tions in the context of its environment that determine the
something that makes us feel comfortable in the space brief for the design. only rarely does a transdisciplinary
or reinforces our sense of self and consequently evokes a approach, an abstract natural form or the sound of a note
feeling of belonging. of a particular instrument serve as inspiration for the first
sketch of the buildings interior design, although this is
When comparing the terms interior design and interior sometimes the case for the exterior of buildings for music.
architecture, we need to ask ourselves: What do we mean
when we speak of architectural quality? Quality archi- Are such approaches to designing those that are infused
tecture to me is when a building manages to move me. with feelings, creative freedom and chaotic and hard-to-
98
Inspired by
the forests of
fairy tales, this
poetic white
landscape in
a gallery is
made entirely
of paper with
peepholes for
visitors.
Wald aus Wald, Hong
Kong, China; Takashi
Kuribayashi
elaborate inspirations really only possible in the compara- Modernism, before offering a philosophical answer of
tive freedom of studies, or are they the sole reserve of star his own: Greed and possession, answered Seneca, and
architects and interior designers? or do we need to give Rousseau nodded in agreement. 2
greater room to philosophical and ethical values in addi-
tion, of course, to resource-friendly sustainable approaches The word greed can encompass the notion of sustain-
to design and the respective functional concerns? ability and reduction when the inspiration leads to the
creation of a classic design, a design that is timeless in
Besides the resource of ideas, a further aspect is impor- postmodern space, and as such can be converted into a
tant in terms of the design qualities of interior and exte- model. To continue Bhringers philosophical approach, the
rior design, or architecture (by which interior architec- question remains as to how these global citizens live in
ture is gradually being subsumed). In the supermarket interiors today and with what corresponding possessions?
of vanities, as the philosopher and philosophy profes- our knowledge of the finiteness of resources, the need to
sor Hannes Bhringer has called it, the question is how make sparing use of manufactured goods, the unforeseen
much personal distance there is to designing for society. technological possibilities, a high degree of mobility and
Bhringer writes: For this reason, to philosophise means of flexibility in the way we manage and perceive time it is
to follow nature, to live according to nature, and art means these aspects that, alongside the tangible functions, define
to imitate nature. one need rarely invent something new the parameters of interior design on which the design of
when nature provides us with models that we need only the atmospheric qualities of interiors must focus.
imitate: burrows, nests, canopies of leaves for example in
architecture. In fact, one need no longer build at all as bur-
rows, nests and canopies of leaves already exist. For this
reason, building is not as important as living, as being a
global citizen, as living in the world. Why then do so few
people live according to nature? asks Hannes Bhringer
in his essay The Absence of Architecture. Mies and
99
yo u H Av E To B E I n S P I R E D
100
by m u sic
Inspiration: between image of the individual, their personal taste and emotional
character in a way that the design elements of a semi-public
emotion and function space, such as a hotel lobby, or a public space, such as a
concert hall, never can. These need to accommodate many
An apple and a pear elevated to imposing monumentality individuals, to provide an appropriate setting in terms of
this is how the Frankfurt painter Justus Juncker presents the style and period in which people feel at home for the
the fruit in his two still lifes from the year 1765. Depicted short time during which they are there. The intention here
against a dark background and illuminated by a bright ray is that people respond positively to the space, through the
of light, the apple and pear exude a magical presence. Mas- objects in it, the arrangement of the space, the quality of
terly painted in a manner evocative of the Dutch painters light and so on which in combination or individually, and
of the 16th and 17th centuries, Juncker reproduces the dif- without additional help from other details strike a chord
ferent materials and surfaces, showing the traces of aging with the visitor.
on the stone pedestals on which the over-ripe fruit rest,
along with the fleeting shadows of the insects that feed For the visitor, individual design objects, lighting elements,
on the fruit and their fragile bodies. The view that the art sculptural works of art or particular surface qualities serve
historian Max Hollein relates in the catalogue The Magic of as highlights that provide visual orientation and can also
Things Still Life Painting 1500-18003 is not typical of art be inspiring and the designers inspiration in turn inspires
historical texts. It is a directed, many-layered description the user of the space: you have to be inspired
of the way of reading the work of art, which represents
nature in a certain way according to the ideas of the artist
in the 18thcentury. What Hollein describes here, and makes You have to be inspired
palpable for the reader, is its narrative value.
by music
Image, narration and readability are equally important
concepts for the spaces in which we live. An interior is In the discipline of music, one can fill spaces with a carpet
often an image of the ideas, desires and values of its resi- of sound, or the timbre and resonance of a voice. But can a
dents, which are manifested in the arrangement of rooms, room itself have a timbre? Can an interior be given a carpet
in the choice of objects, ensembles and combinations they of sound that has a soft and velvety tone, or that reflects the
contain and in the use of form, colour, material, surface, sound of a viola playing pianissimo and awakens associa-
light and other details of the interiors architecture, which tions with wine-red velour? Some people are able to make
together communicate an overall concept. It is not just a a direct synaesthetic connection between sensory sensa-
first impression of the atmosphere that is being portrayed tions and a corresponding conceptual or three-dimensional
here and instinctively directed, and that shapes inspiration design quality. In the world of theatre, this mechanism
too. Interior architecture is also a platform that serves to is of central importance, inspiring and giving shape to
interpret the details of the interior design as an overall the production. The design seeks to capture, to interpret
view of the person, or people, who live(s) in it and who the freedom of thought by means of verbal or emotional
chose that particular interior design. association but always ultimately returns to function: the
function of creating an atmospheric quality for the interior.
We read the things in direct relation to the people in their
private realm: the original work of art by Pablo Picasso Music is a very good example of how emotions can be cap-
or the Corbusier recliner that contrasts with a wooden tured, and the same principle applies equally to the design
footstool found in a workshop speak to us as a social com- of interiors. People are able to feel and sense abstract ideas,
mentary; the contrast, itself emblematic of modernism, and these are not solely expressed verbally but also in mate-
is understood as an expression of personality and social rial form. Nicole Brggmann, describes the inspiration for
position. What served as inspiration in this case: the work her design for a temporary interior for the Classic Lounge
of art or the image of contemporary living? in the Museum of History in Hanover in 2010 as follows:
I associate classical music with sensuality and emotions.
A private space may be inspired by an item of furniture, My design draws on the characteristics of classical music
or by a painting, a particular wall texture or covering, and makes them accessible in a virtual form.4 Here the
arestored historical mural, or the dominant elements of focus of the design is its synaesthetic quality, which needs
the space itself, such as high ceilings, large glazed surfaces, to be made visible, tangible and multi-dimensional in the
its quality of light all these are possible inspirational design of the interior.
elements that influence or characterise the quality of the
space because they (help to) shape it. This ability to make connections between different senses
is something we can all do, and is a skill that can be trained
The inspirations, such as the choice of elements, and how to a greater or lesser degree through practice, as described
they have been portrayed to best effect under the prevail- by the psychologist Elsbeth Stern in her elaborations on
ing circumstances in a persons private space present an research into human intelligence. 5
101
Yo u H av e to be I n spired
102
By A R T
103
yo u H Av E To B E I n S P I R E D
One in a million
this is how the artist
sees herself, inspired
dots cover the entire by her motto polka dots
room, turning it into an all over.
Portrait of the artist
endless continuum. Yayoi Kusama
Dots obsession; yayoi Kusama
104
By A R T
105
yo u H Av E To B E I n S P I R E D
Orient, ornamentation
and mosaic.
Juliet Supper Club, New York City,
New York, USA; bluarch
106
By A R T
107
yo u H Av E To B E I n S P I R E D
Temporary installation in
Chinatown in New York
a topology based on four
forms and five sides, made
of insulation board and
mirrors illuminated in pink.
Turning Pink W, New York City, New York,
USA; Leong Leong
108
By A R T
109
Yo u H av e to be I n spired
You have to be inspired Similarly, a yearning for motifs from nature is expressed,
for example, in the strong colours and patterns of wall-
by fashion papers that brighten and enliven the mood of todays
knowledge society as it goes through a time of economic
When people are asked to name designers at the intersec- uncertainty. This delight in colour and patterns in interior
tion of interior architecture and fashion design, Hussein design expresses a sense of joie de vivre, of youthful spirit
Chalayan or Philippe Starck are often the first to come and a sensibility towards nature and culture, especially
to mind. Back in the 1990s, Starck designed a tube dress when we draw on traditional patterns, references and
made of jersey that could be worn as a miniskirt or as a ornamentation.
maxiskirt and could also be used as a tent. Even extreme
cases such as overalls or coats that can be turned into The influence of design qualities from fashion as inspiration
tent coverings with an interior that can be inhabited and for interior architecture can also be seen in the reappropria-
therefore designed whether predesigned or flexibly tion of cultural values. The use of old technical achieve-
adaptable are measured in terms of their spatial quality ments does not preclude the notion of back to the roots,
once they have been converted. of a return to traditional methods, which are often felt to
be timeless and classic, and therefore precious and unique.
At the same time we think of pioneers working at the fron-
tiers of fashion such as Comme des Garons: at the end of Synergies between the design qualities of fashion and of
the 1990s in particular, the company produced man-made interior architecture are, of course, also to be found in the
skins that distilled elements of a foreign realm and the clothing sector. Clothing implies some kind of function,
new by employing the method of deconstruction from art: forexample in the area of protective clothing. The tech-
constructive elements were deconstructed and put back nologies of applied textiles, such as textile filter materials
together in a new context. The methods of deconstruction that neutralise smells and pollutants, are making their way
was first elaborated in the philosophy of Jacques Derrida into the field of interior architecture, for example this year
before making its way into architectural theory and practice as textiles for hospitals and clinics.
in the work of Bernard Tschumi and others. Today it is a
familiar aspect of fashion (Martin Margiela, Martine Sitbon Inspiration for the second skin of fashion can be derived
among others). The model, or the process, is founded on from photographic images of architectural facades that
the principle of taking parts of conventional objects, for are then applied as digital patterns for clothing and fash-
example pieces of furniture, and integrating these in new ion and vice versa. The work of the young designer
furniture, or combining old and new furniture in unusual Judy Zhang from London, with The Versus Concept (TVC),
ways and means: a construction of the deconstructed. demonstrated in 2011 how fashion and architecture enter
into a symbiosis, ultimately becoming part of the interior
Cultural heritage as a source of inspiration is not restricted design. The interplay of analogue and digital images and
solely to recycling, converting and reconfiguring pieces of construction methods could become a model for interior
our heritage. It can also be an opportunity to learn from design in a manner similar to how inspiration and construc-
tradition, to rediscover the value of traditional crafts and tion influence one another in the realm of bionics.
to use traces of the past as bearers of identity for inspiring
new interiors: by way of example, a wall covering made of The current work of the Dutch product designer Mieke
horsehair in the dining room of an old villa or fragments Meijer illustrates a model for how architecture can serve
of a former kitchen and bath mosaic that are re-used on as inspiration for product design: she traces the precisely
the ceiling of an entrance hall. constructed forms and history of historically important
architectural monuments and transforms them later into
A further transdisciplinary cross-over between fashion furniture, such as in her series entitled Industrial Archae-
design and interior architecture is the use of metaphors ology. 6
or terms that describe trends and stylistic movements:
the Belle Epoque, in 2011 a trend in fashion as well as in The use of legacies from the past for built elements in
interior design, describes the return to stylistic elements space, or for elements in fashion, refers to a current trend
from the good old days of finery. It characterises a longing towards reintegrating our history into our future. Recruit-
expressed in fine materials such as silk, velvet and embroi- ing the cultural heritage is how I would summarise this
dery and a cut that is suitably luxurious. use of our cultural heritage, which can serve as a lasting
source of inspiration for design as much as the model of
This yearning for traditional, noble values also finds its natural systems described below. 114
110
By FA S H I o n
111
yo u H Av E To B E I n S P I R E D
112
By FA S H I o n
113
YO U H Av E TO b E I N S P I r E d
Fresh and healthy air will in future play an essential role for
the design of interiors. The indoor air climate is dependent
Organic forms that draw not only on the presence of nature in a space, but also on
inspiration from coral and from technical installations that control air flow rates, tempera-
bones alike: a scaled-up walk-in ture, the acoustics and levels of illumination. In the fine
arts, there is the idealised notion of arcadia, as portrayed
experience. in the Le Jardin Anglais wallpaper, an idea that Jacques
nonLin/Lin Pavilion FRAC Centre, Orlans, France;
Ferrier transformed into three dimensions in 2011. Here an
MARC FORNES / THEVERYMAN
idealised view of nature with an almost archaic quality
serves as inspiration for the design. 119
114
by sci e n c e
115
YO U H Av E TO b E I N S P I r E d
116
bY SCI E N C E
117
Yo u H av e to b e I n s p I r e d
118
bY SCI E N C E
Another equally fascinating source of inspiration from The catalogue Skin + Bones Parallel Practices in Fashion
the sciences are natural (building) materials: the natural and Architecture8 offers stimulating inspiration for a trans-
materiality of a wall surface made of earth, for example, disciplinary comparison of fashion and architecture and
also helps to create an optimised indoor room climate by interior design and their formal principles, and in turn for
regulating the air temperature and humidity and improving developing new creations. Transdisciplinary crossovers,
the quality of life in living areas. Such approaches draw the underlying creative themes, the parameters of build-
on traditional living environments and building methods, ing construction as well as socio-political considerations
inspiring on the one hand a retro-movement and on the are detailed in a way that is especially stimulating for the
other contemporary approaches to sustainable building. development of design qualities that can serve to inspire
Inspired by the properties of the material, Jacob buse architecture and interior design. These are the things that
designed an earthen seat in 2010 in which the surface is help us experience the beauty and natural presence of
fashioned entirely out of earth without any other artificial designed atmospheres with all our senses.
substance sealing the surface.
Further reading: 1 Zumthor, Peter, Atmospheres
The principle of drawing analogies from nature, or more (basel, boston, berlin: birkhuser,
bahamn, Alejandro and Prez,
precisely the mechanisms of nature, can be seen in a pro- Patricia, Mineral Architecture
2006), p. 11.
ject by the design student Ilka bernhard in 2011: SOLution Analogies between the mineral world 2 bhringer, Hannes, Enger Spiel-
and contemporary architecture raum ber Bauen und Vorbauen
is an example of how bionics can contribute to the design (badalora: Parramn Ediciones, (Munich: Wilhelm Fink verlag),
of spaces by making use of the natural energy of our solar 2008). p. 77.
system. A photovoltaic or solar plant located discreetly Kemp, Wolfgang, Architektur 3 Hollein, Max, Foreword of
outside the building channels energy into the interior of analysieren (Munich: Schirmer und the German edition of the cata-
Mosel, 2009). logue: Sander, Jochen and Stdel
the house that is in turn used for electricity and water Museum Frankfurt am Main (Eds.),
Wachs, MarinaElena, Material
heating. Systems integrated into the interior architecture Mind Neue Materialien in Design,
Die Magie der Dinge Stilllebenma-
lerei 1500-1800 (Ostfildern: Hatje
will increasingly exploit the technological possibilities, and Kunst und Architektur, (Hamburg:
Cantz, 2008), p. 9.
dr Kovac verlag, 2008).
what they produce, rendering them visible in the design: 4 brggmann, Nicole, Press
Wiedemann, Julius (Ed.),
in the SOLution project, polychromatic, organically pro- text accompanying the Classic
Product Design in the Sustainable
duced pigments, which are already available, are used to Lounge in the Museum of History
Era (Cologne: TASCHEN, 2010).
in Hanover, 2010.
create a synthesis of interior and exterior space, catering Marina-Elena Wachs (bS,
5 See Stern, Elsbeth, Intelli-
to an increased need for islands in the city in which one can 12.12.2011)
genz, Wissen, Transfer und der
relax outdoors even when the weather is bad. The result Umgang mit Zeichensystemen,
in: Stern, Elsbeth and Guthke,
is a new kind of conservatory inspired by natural energy
Jrgen (Eds.), Perspektiven der
systems that makes the principle of energy gain visible. Intelligenzforschung (Lengerich:
A good overview of current examples for a healthy (natu- Pabst, 2001), p. 163 ff, and p.
170 f. in particular.
ral) way of living in interior design can be found in the
6 See FORM, no. 238
publication Sustainable Textile Design.7 (May/June 2011), p. 78 ff.
119
QualitY of life
Michael catoir
QualitY the Quiet years in our kitchen until I placed a sheepskin on it to pro-
tect my skinny rear. Ludwig Mies van der rohes barcelona
revolution Chair is another candidate with great looks but poor com-
fort. but the master of deception is the Louis Ghost Chair:
visual quality is certainly one of the most important quali- through its combination of historically inspired form and
ties in our everyday lives. Our whole experience is visual gleaming lightness and transparency, Philippe Starcks
and we are constantly being bombarded with visual impres- armchair is so attractive that it is able to make us forget
sions. The quality of these is as varied and diverse as the all the disadvantages of a plastic chair.
impressions themselves, and new aspects are appearing
every day. A flood of forms, lines, symbols, images, texts but the eye can also be deceived by all manner of dif-
and textures befalls us from the moment we open our eyes ferent parameters. It is hard to believe that the dome of
in the morning. Amazingly, our eyes and heads are still able St. Peters Cathedral is over 100 metres high at its apex,
to manoeuvre us through this complex jungle, despite the such is its form and rich decoration. We have to refer to
sensory overload, and provide us with the parameters we our travel guide for confirmation. The same principle also
need to be able to make decisions. In a fraction of a sec- works at the other end of the scale: a small room when
ond, we can see that a chair will be uncomfortable without suitably decorated can look larger than it really is. This
having sat on it. Similarly, a poorly designed door handle phenomenon can be seen in guest toilets around the world,
already produces an unpleasant sensation in ones hand just and also in the Htel Costes: the rooms, in typical Parisian
by looking at it, an impression that is reinforced when we fashion, are often tiny, but Jacques Garcia has succeeded
use it. by contrast, a sculpture by Anish Kapoor evokes a in decorating them so nicely that one entirely forgets the
desire to touch it (although we are usually not allowed to). size of the room. A really beautiful example of the optical
extension of space through the use of decoration is the
In such processes, the eye is many times faster than the mind Convent of San Marco in Florence: Fra Angelico painted
or to be more precise, than our intellectual response , wonderful frescoes on the walls of the cells, thereby skil-
and it is not rare for our minds to play tricks on us. The fully reducing the sense of confinement.
Eames Plastic Side Chair, for example, has had such phe-
nomenal commercial success that it has advanced to but ultimately, the eye and mind have developed a rela-
become a cult object; in the process one forgets just how tively reliable system of values by which to perceive and
uncomfortable it actually is, an experience I endured for understand the quality of things. For example, despite all
120
Coffee aroma
books aplenty,
parquet
flooring and
mocha brown
leather turned
on its side!
Despresso, New York
City, New York, USA;
Nema Workshop
the efforts of industry to make artificial versions of natural to a certain degree, the eye sooner or later uncovers most
materials, our eyes and mind are still not always convinced. deceptions or else sees itself corroborated by the quality
Artificial materials of this kind must be applied with skill the visual impression has communicated.
and care for us to accept them: the weak point is often how
they are employed or worked. For example, manufacturers Why is it that when we enter a Christian Liaigre or Prome-
have succeeded in making very good laminates with real moria store we feel part of an atmosphere of elegant
wood veneer, but they are often given away by the treat- luxury while when we visit a large furniture outlet, we
ment of their edges. Imitation stone tiling by Gres suffers just feel like we are in an expensive furniture shop? The
the same problem. More convincing in terms of looks are answer lies in the multitude of perfectly crafted details
materials that are coloured right through, such as colour that industrial production cannot replicate, in the spacious
core laminate, artificial stone or Corian, but these rather arrangement of the store and in the intimate lighting, all
good imitations still lack the haptic feel of the original. of which tell us that what we see are not mass-produced
To properly exploit the qualities of artificial materials to goods where exclusive quality is only to be found writ-
create a convincing object requires an almost holistic ten on the label. 126
121
Q UA LIT Y O F LI FE
The huntsmans
greeting: a cosy
corner in the
centre of Paris.
Apartment, Paris, France;
Studio Catoir
122
TH E Q U I E T r E vO LU TI O N
123
Q ua lit y o f li fe
124
TH E Q U I E T r E vO LU TI O N
125
Q uality of Life
But there are also good examples at the other end of the Such moments of surprise are often created through the use
scale that demonstrate what can be achieved with a lim- of decoration, but this is altogether a particularly thorny
ited budget. McCaf, for example, has managed to shed issue. This is where the most serious stylistic clashes or
the cheap-as-cheap-can-be image of McDonalds, and in lapses in quality occur. The worst mistake is not to deal
many of its establishments one can now enjoy a good caff with the issue at all. At the very least, measures should be
in pleasant surroundings. By skilfully combining laminate taken to reduce, as far as possible, the impact of a potential
surfaces with classic pieces of furniture by Jean Prouv defect. Andre Putman, for example, forbade the place-
(for example in McCaf in the rue du Renard in Paris), the ment of plants in any of her projects, using only a white
fast-food chain has managed to liberate itself from the orchid as floral decoration. Jil Sander had the surfaces
wash-down, vandal-proof aura of the 1980s. of the windowsills in her offices slant so that members of
staff could not place things on them or use them to display
The continuing uncertainty among consumers about the personal items. But the desire to add decoration is very
origin of products, caused in part by globalisation, has also common and this should be catered for in the design: as
sharpened our senses. The question of quality is therefore such, one should not shy away from it!
as relevant as ever. Creating visual impressions is a valid
means of sending signals, attracting attention, creating Decoration is unquestionably a part of every interior. It
harmony and so on, but quality is what creates real trust. should therefore be an integral part of the design: even
This is what the tandem of visual impression and quality unbelievably expensive works of art can look out of place if
needs to achieve: to reassure consumers that what they not chosen and arranged with care and sensitivity. Masters
see is not a pretence. of interior design such as Christian Liaigre or Alberto Pinto
call themselves dcorateurs and create perfect, complete
The re-editions of Jean-Michel Franks furniture by Herms works of art. Damien Hirst delights in creating decorative
and cart, for example, are of such exquisite beauty and artworks for hotels and other institutions and even Jean
perfection that they have rightfully been lauded in the Nouvel decorates his architecture with coloured ceilings.
press. The craftsmanship is exceptional and shows what
is possible when quality is the motor of an idea. Well- Colour and colour combinations are popular ways of deco-
kept classic cars exude a similar fascination: every screw, rating spaces. Even in Switzerland, where concrete, glass
every seam, the wonderfully crafted coachwork and the and right angles predominate, large surfaces of bright
thick layer of paint are a delight to set eyes on. Even those colour can happily evoke a quirky nostalgia for the 1970s
who are not car enthusiasts can see the fascination in the (for example in the supermarkets of the Migros chain).
craftsmanship of a Gesamtkunstwerk of this kind. Luis Barragn was a master of colour who translated the
spirit of South America into wonderful colour schemes.
It is precisely this quality that the client should strive for. Today, architects such as Ricardo Legorreta or Sauerbruch
An interior that has been developed with such love and Hutton create works of great beauty that owe a debt of
attention is a true oasis of peace, fascination and inspira- inspiration to Barragn. In these examples, colour is able
tion. Pierre-Alexis Dumas, directeur artistique of Herms to communicate a fresh and positive emotional impression
describes the home as a sheltered place to which one can without being overtly contemporary. The use of colour is,
retire in order to relax and to recharge ones batteries however, not always straightforward. Not every client is
before venturing out again into the world outside.1 This is receptive to the idea, or courageous enough. In public or
the quality one needs to capture for the private areas or semi-public projects such as hotels, trade fair architecture
quiet zones in hotels, airport lounges or clubs. This qual- or foyers, decision-making committees have been known
ity is already evident in the graphic quality of the layout. to feel so unsure of themselves that a prize-winning artist
Aplan that looks harmonious on paper will be harmonious has had to be consulted before painting a wall red. At the
when realised in three dimensions because the eye sees same time, others are over-zealous in their use of colour
the symmetry and relationships that create the sense of in an attempt to make themselves noticed above the gen-
order and calm. The articulation of the details, the well- eral competition for attention, which in turn further fuels
matched materials and qualities, the use of light, acoustics the uncertainty of decision makers. Moroso, for example,
and air quality the eye and mind take note of all these is now designing trade fair stands and products that are
things, communicating to the viewer the care and attention so overladen with decoration that one can no longer see
to detail invested in the room, signalling that nothing has the wood for the trees. The celebrity designer of interiors
been left to chance, that the designer knew exactly what Marcel Wanders drowns his projects with a degree of
he wanted. One immediately feels reassured, and can begin ornament-overkill that borders on the obscene. Visuality
to enjoy the harmony of the room. The style of the room sells, but only in the right dosage! 128
126
TH E Q U I E T r E vO LU TI O N
127
Q uality of Life
The quality of space: Placed in a category often forgotten and given too little
attention are layouts that have successively grown: floor
order, freedom, plans of old apartments, hotels or office buildings that over
structure and pathways the years have been altered by their users and now have
what amounts to a second skin bearing the traces of its
past life. Layouts in this category are able to accommodate
One of the foundations for the quality of a space is unques- all sorts of inconsistencies and to explain them away as
tionably its layout. Here there are two camps: those who part of the places character. An absolute masterpiece in
favour order and those who favour freedom. Well-ordered this category is the Palazzo Fortuny in Venice. Like many
layouts are characterised by symmetry, alignment, axes old palazzi, it is a wonderful building steeped in patina,
and geometry. There are many diverse examples of this red brick and wonderful details. But what is most exciting
type, which has existed since man put one stone on top about it is the succession of universes on the different
of the other, and in most architecture offices this is the storeys. Originally a house and atelier for Mariano For-
standard approach to room layouts. An orderly layout tuny, the palazzo now serves as a museum and exhibition
may seem boring on paper, but if well executed and with venue. Visitors wander through the different rooms, before
skilful styling, it can achieve very good results. Masters being confronted with the concerted power and distinctive
of well-ordered layouts, such as Le Corbusier and Mies beauty of the life and work of Mariano Fortuny in a room on
van der Rohe, constructed every wall and every item of the first floor. The walls are a vast patchwork of different
furniture according to mathematical rules and built some layers covered with the famous Fortuny textiles, and one
quite fascinating sculptures using this approach. Andre has the impression of being in an oversized jewellery box.
Putman always worked with geometric and well-ordered In every corner of the room there are anecdotes from the
layouts and used them to create wonderful projects with- rich life of Mariano Fortuny a prototype of his lamps here,
out the slightest hint of monotony. Orderly layouts are in a huge wooden model of a stage set there; the sketches,
many cases the best approach to create calm, spacious and patterns and paintings all meld into the fascinating universe
elegant spaces while allowing a good degree of freedom of an exorbitant snowball.
for styling. Geometry and order can help to unite disparate
functions and, due to their timeless quality, are generally Here one can see that it is very difficult to replicate the
received favourably. But caution should be exercised when particular interplay of harmony and tension in such succes-
the sense of order becomes too dogmatic. While many of sively developed floor plans. Philippe Starck likes to use
the minimal projects that take these ordering principles to excerpts of such layouts in his projects, and has succeeded
extremes are without doubt very photogenic, they are a in realising them to great effect. 132
128
Q UA LIT Y O F S PAC E
Fake door:
doors spiced
with a pinch
of humour
are the theme
of this shop
design.
INDULGI, Kyoto,
Japan; Nendo
129
Q UA LIT Y O F LI FE
130
Q UA LIT Y O F S PAC E
131
Q uality of Life
Micro-stress factors in the card close to the door frame at the height of the handle,
and so on. Once the hotel guest has passed this hurdle,
hotel design: Do it simple the procedure continues with the What do I do with the
do it stupid card once Im in the room? ceremony. But because hotel
staff have learnt that guests are already overburdened with
remembering the room number, where the lift is, where
In my minds eye, I see a hotel advertisement: Fantasy Hotels the breakfast room is, the price of breakfast, how to open
& Resorts are first class, full-service hotels that combine a the door and what to do with the card to activate the
stylish and contemporary approach to design with a culture electricity, this last detail is often left unexplained. Guests
of innovative thinking designed to meet the very specific are then left to find out what to do with the card, keeping
needs of its guests. one foot in the door to allow light into the room so that
they can locate the cardholder of the guest entry system.
These innovations include its Yes I Can! spirit of hospital-
ity, a great choice of concept rooms with Nespresso cof- And here we encounter another old favourite of build-
fee machines in Business Class, a 100% Guest Satisfaction ing technicians and hotel managers: the lighting system.
Guarantee Programme, an Easy Connect approach to IT with Always on the lookout for new selling points, general
free high-speed Internet access for all guests and meeting managers are often keen on embracing new trends and
delegates, and a fantastic range of destination bars, restau- technical advances. Ostensibly installed to reduce energy
rants, leisure facilities such as spa and wellness centres and wastage and provide guests with added comfort, these
meetings and event venues.2 complex lighting control systems provide a series of pre-
Daily newspaper programmed lighting scenarios controlled from a touch
Nespresso machines with an assortment of coffees panel. The guests end up spending more time trying to
Free pay-TV movies work out how to actually switch off what they do not need
Lifestyle magazines than enjoying their stay. The list of pitfalls and surprises
Fluffy bathrobe & slippers to be found in a hotel room is surprisingly long and the
... and much more! interior designers battle to reduce these to a minimum is
only sometimes successful.
Most hotel chain advertising sounds something like this and
features a long list of amenities and fancy-sounding services Thankfully there are investors, hotel owners and managers
that are supposed to sound appealing, but in actual fact only who have understood that hotel guests do not really want
add to the bewildering plethora of choices the customer to have to learn how to use their room, and that Doit simple
faces. In the end, of course, it almost always boils down to do it stupid is often a better and more desirable approach
the cost of a room for the night. After all, what the hotel to many of these issues. By way of example, the Hudson
guest really needs is just the basics: a place to stay for the Hotel in New York has well-designed vending areas in the
night, a clean room, a good nights sleep and a hot shower. upper-storey corridors, the Soho Hotel in London has a
self-service honesty bar in the lobby, replacing the need
But staying in a hotel is no longer as simple as that. The for a minibar in the room, and the Renaissance Hotel at
stress and confusion that hotel guests have to cope with London Heathrow has simply a fridge for guests to store
begins the moment they are given the key. Nowadays, hotel the drinks bought from the kiosk in the hotel lobby. The
room keys are not the sort that can be left at reception and same principle applies to cupboard storage the less room
picked up again later: todays hotel rooms are unlocked one devotes to a cupboard that is rarely used anyway,
with a credit-card-sized key. This is, of course, a size that the better. Some managers have realised that an open
is a little too easy to lose track of, causing frantic searching cupboard is just as useful for most guests and that what
through pockets, wallets and handbags for the all-important is really needed is a proper, stable luggage stand (Renais-
piece of plastic on return to the room, hoping all the while sance Hotel at London Heathrow).
that it has not become demagnetised while in contact with
other cards or mobile phones. Sooner or later, guests find
themselves having to return to the lobby at 2 a.m. to ask
the night porter to fashion a new card.
132
H OTE L S
Unfortunately, there are very few visionaries in the hotel All too often, the planning of hotels lacks plain old common
business and only a small number have the courage to go sense. Instead, they are interpreted as profit generators,
new ways. One of the few pioneers in this oversaturated driven by the demands of banks, hotel chain standards and
field is Ian Schrager. He has consistently pushed forward general managers. For example, the rooms of a luxury hotel
the boundaries and put new ideas into practice. The lobby in the Swiss Alps are air-conditioned, so that concerned
of the Hudson Hotel in New York, for example, becomes a visitors can be sure that the rooms will not be too warm,
party cellar after 10 p.m. with music, drinks and everything despite the fact that at 1600 m above sea level the tempera-
else that belongs to a good night out. Philippe Starcks ture hardly ever exceeds 20C. The same project contains
perfectly designed ambience turns a space that would a series of restaurants akin to a theme park with cuisine
otherwise be vacant or being cleaned at that time of from their visitors homelands so that, in accordance with
day, into a good profit generator and at the same time into the hotels 100% Guest Satisfaction Guarantee Programme,
an in-location in New York. Ian Schrager has a talent for guests can partake of their favourite food in the respective
tapping into the zeitgeist and finding the right partners. ambience. The lobby opens onto the burger grill, the Swiss
Together with Andre Putman, he created the Morgans fondue cabin and the sushi restaurant, leaving the guests
Hotel in New York, the first boutique hotel of its kind, and wondering which continent they are on. And, for the rare
with Philippe Starck he created the design hotel category. occasion when the hotel is fully booked, a multi-storey
He also knows when it is time to move on, and was already underground car park has been blasted out of the mountain
working on new ventures as others were just beginning to to ensure that no one need venture out into the snow for
experiment with design hotels. As other developers were an evening meal. Simple answers to simple questions and
eagerly launching the Hotel Puerta Amrica in Madrid a a greater focus on the essentials have become all too rare.
project more overcrowded than a techno-flyer with much
song and dance and designer name-dropping, despite the Surprisingly, the most innovative hospitality concepts are
fact that the design hotel trend was waning, Ian Schrager currently to be found in the budget and b&b sector and
was already working on 40 bond Street in New York. not in the luxury segment (for example in pentahotels
and Meininger Hotels or in the Hoxton Hotel in London).
For some incomprehensible reason, most hotel rooms are by cutting back on the general excess so typical of the hotel
planned around the Tv and not, as one might expect, around industry, progressive hoteliers are demonstrating that they
the bed, which is after all the main reason for spending a can offer guests what they need in a simpler form while
night in a hotel. This seems all the more incomprehensible still providing a sense of lifestyle. The guests are relieved
given the television companies concerted efforts to pro- of many of the micro-stress situations and can enjoy their
vide the most mediocre television programmes possible. stay without having to think about how things work. 136
A digital television concept where films or programmes
can be viewed on-demand and without advertising, much
like a dvd, would be a much more relaxing alternative
to television. Making this downloadable wirelessly to
an iPad would make a perfect television evening. Accor
together with Microsoft have developed the multimedia
hotel room concept room 3120, which combines pay-
Tv and similar offerings with an in-room Wii area and
computer games to provide a broad spectrum of enter-
tainment options. despite the degree of sensory overload Clean sheets. Just a simple,
in this project, it does at least represent an attempt to
explore new directions.
clean soft bed.
VIP WING, Munich Airport, Germany;
Tina Amann Innenarchitektur
133
Q UA LIT Y O F LI FE
134
FO O d
135
Q uality of Life
Living: from the living In the past, everyone lived together, cooked together, ate
together and talked, argued, played, enjoyed one anothers
room to the skyscraper company, or annoyed one another all together. People
and back spent the day together conducting activities largely of a
private nature. In the houses of the nobility and in castles,
they played music together, wrote letters, passed the time
Living what does that mean exactly? The primeval cave of day with needlework or the like; even pursued hobbies.
was a place to seek shelter, warmth and to congregate. Guests were also received in these rooms, but they were no
Since then, our forms of dwelling have developed over longer slept in. The activities were therefore not entirely
thousands of years, but our basic needs remain in princi- private as before, but extended to encompass social inter-
ple unchanged. In old farmhouses, everything happened actions with others, i.e. functions of a more public nature.
in one room: people ate, slept, cooked and spent time
together in the same space, and when people bathed, that The advent of modern technology has accelerated this
also took place in that room. In the houses of the bour- tendency dramatically. The different forms of media started
geois, in manor houses and castles, the different living to play a role in how we live our lives: grandfather sat alone
functions were separated from one another. Each activity in the living room on Saturday afternoon to listen to the
had its own room. Cooking was done in the kitchen, usu- soccer on the radio; the family sat together to listen to a
ally by a housewife or servants; sleeping took place in concert or the news. The advent of television changed not
the bedroom, either alone or as a couple. In exceptional only our living activities but also the layout of the room:
cases, there were more people, but then the room was acomfortable couch now sits opposite the television and
for more than just sleeping; or it was the childrens room. ever more living activities take place in front of the televi-
Work went on in the study and eating in the dining room sion. People now eat, peel vegetables, do their homework,
usually just the family, but sometimes also with friends, sleep, pray and have sex in front of the TV. The furniture
acquaintances, business partners, the vicar or other invited industry has responded accordingly with TV-oriented
guests. People washed in the bathroom and lived in the furniture: the sofa can be converted into a bed for watch-
living room. Very early on in the historical development of ing TV while lying down (although no one seems to have
living, the way in which people lived and came together developed a TV that automatically changes orientation
started to be separated into different facets, each with a when the viewer decides to lie on his or her side). Many
distinct room of its own. In the houses of the nobility and of the activities that previously took place together now
in castles, there were appropriately prestigious formal only appear to take place together as everyone is actually
reception rooms, which were only used for semi-public interacting with the TV. On the other hand, many people
and social purposes, and separate private living quarters now come together to watch television: neighbours watch
for being together. Thisillustrates how important social weekly detective series together, friends meet to watch cult
interaction with others was in everyday life. The layouts music shows, in the 1980s there were Dallas and Miami
of the separate living rooms private and formal were Vice parties and, of course, mates meet up to watch soc-
completely different and they contained other items of cer or other sports.
furniture. Incommoners houses where it was not possible
to separate the formal and private functions into different Alongside this development, social interactions have also
rooms, the furniture was re-arranged to suit the occasion. acquired increasing importance. People now leave their
houses to socialise. In cities, people have much more to
The concept of spatially separated living functions remains do with each other than ever before: they go out to the
the basic formula of living patterns today. Modern apart- pub, to a caf or to a restaurant. In the past, eating out was
ments and houses are still divided into separate living reserved for special occasions, but as food concepts have
functions, and the purposes of the rooms are more or less become increasingly affordable, restaurants now cater for
the same as before. In more exotic constellations, such as even the simplest of snacks. On Sunday afternoons, entire
lofts, one can even see the old pattern of living from the families visit McDonalds or Burger King. At the other end of
farmhouse: all functions are contained in one large space the price range, posh restaurants and in-bars have become
and with luck there is a fireplace to play the role of the social arenas in which seeing and being seen is as impor-
hearth of yesteryear. Taken at face value, it would seem that tant as the food itself. More and more living activities have
in hundreds of years little has changed about the way we shifted into the public realm, and ever new forms of going
live. But there have been some radical changes. Thebasic out are being born. In the 1960s there were tea dances
needs are, of course, provided for in much the same way: where young people danced to rocknroll and jazz music,
we sleep, as before alone or as a couple; we wash and in the 1980s nightclubbing was at its peak, and in the 1990s
go to the toilet (thankfully, much has improved here); we techno followed with mega events like the Love Parade and
cook, eat, live and maintain social contacts with others. Mayday. Now that socialising takes place mostly outside
But it is this last area that has changed most. ones own four walls, dwellings are getting smaller again.
The number of single households is rising and landlords are
gleefully renting out 15m2 shoeboxes for more money than
136
LIv I N G
People now often live their lives separated from their loved
ones by large distances. As such, they need to re-create
and re-organise their families. Social contacts are made in
the sports club, or on the Internet and Facebook. Spaces
for lounging are being created, along with WiFi areas for
permanent connectivity. People go to Starbucks to chat
Voluminous and inconspicuous
on their laptops, grandparents sit in airports and skype
with their grandchildren, and friends meet up in iPhone a lot of ones possessions can be made
conference calls. More and more aspects of everyday life to disappear into fitted cupboards.
are taking place in the public realm. Loft apartment, Cologne, Germany; Birgit Hansen
137
Q UA LIT Y O F LI FE
138
LIv I N G
139
Q UA LIT Y O F LI FE
Soft cushions:
a comfortable
corner sofa
nestles naturally
into the corner
of the room.
Monterosa Department
Store, Zurich, Switzer-
land; atelier zrich gmbh
140
LIv I N G
A small, well-organised
personal workspace and the
corner of a living room quality
of life in everyday interiors
instead of the lifestyle interiors
of glossy magazines.
Private residence, Cologne, Germany;
Innen-architektur. Daniela Haeck
141
Q uA lIT y O F lI FE
The qualiTy of life and with an illuminated ceiling. 90 % of lighting situations can
be resolved with individually controllable lighting and the
work: the glory of bore remainder with indirect lighting.
Today we spend as much time at our workplace as we do in The illuminated ceiling is a feature that arose with the
bed. A plethora of studies, scientific investigations, norms development of open-plan offices, which today still remain
and health and safety regulations exist covering every the most popular type of office space. What continually
conceivable aspect of the design of workplaces. Many of motivates decision makers to choose this type of office
these are without doubt valuable as a means of prevent- layout is its apparent flexibility, but if one investigates
ing basic mistakes, but so much has now been regulated whether this much-vaunted flexibility is actually exploited
these days that an entire industry sector produces only in practice, the sad reality is that this practically never
laminate-covered desks, monstrous seating machines and happens. Nevertheless, offices continue to be arranged as
fluorescent lamps. Even carpeting may only have tiny dots expansive areas rather than as rooms. It is like working on
or diamonds to avoid offending anyones taste. a large platform with furniture on it. The window desks are
therefore highly coveted, while the heads of department
Paradoxically, when it comes to the design of our work get an aquarium office of their own. Meetings are held in
environments, the best efforts of interior designers and the middle, but this is also where the noise level is at its
architects are the first to fall victim to the red marker. As a greatest. A change in thinking seems very difficult to bring
consequence, our work environments end up as medio- about, as the problem lies with the decision makers at the
cre, risk-free spaces made using the cheapest possible top, who are not immediately affected.
products, justified by a need for cost-effectiveness and to
adhere to regulations. People have forgotten that offices This scenario stubbornly persists as the standard approach
are one of the most important spaces in our lives. It seems despite the many positive examples of alternative solutions
that an entire army of office furniture manufacturers have that can be found. For example, offices in existing old
agreed that it is cheaper and easier to create ugly office buildings invariably make more user-friendly work environ-
furnishings than it is to create beautiful furniture. One can, ments, and firms with different company philosophies, such
of course, use the same investment sum to create a nice as Google or Grey, have demonstrated that it is possible,
working environment as opposed to an ugly one, or a good with a little creativity and courage, to create efficient and
environment as opposed to a poor one. The difference lies attractive work environments. Along with more pleasant
in the choice of aims. The first question should establish lighting, the office furnishings have been designed to
what is really needed and what the main priorities are. encourage staff to identify with their work environment
For example, armrests are generally not necessary for and feel motivated. In the end, this is what it is all about:
executive chairs; in fact they can be obstructive, prevent- creating an atmosphere in which people can pursue their
ing the chair from turning while ruining the leading edge work with enthusiasm, where they are motivated and feel
of the desk. The same applies to the many features touted stimulated and where each and every person believes in
for such chairs, such as syncro, body-balance-tec-joints, what they are doing. That will not come about in a run-of-
adjustable headrests, relax mechanisms or adjustable seat the-mill work interior.
inclination. As most people generally do not know what
setting is best for them, or even how to operate these All too often, product manufacturers and decision makers
features, the best approach is to adopt the method used get waylaid in technical details and lose track of their vision.
when faced with long restaurant menus: order the familiar A visionary idea, the courage to do things differently and
features and ignore the fancy extras. The focus should be the discipline to question whether the prevailing option
on ordering a chair with the minimum necessary features, is always right should be a constant part of our work as
but one that looks good and is robust to use; after all, every designers. 150
142
lI FE A N d WO r k
143
Q uA lIT y O F lI FE
Signage as a decorative
and dynamic element
of space from small
detail to over-sized wall
elements.
Adidas Laces, wayfinding system,
Herzogenaurach, Germany;
bro uebele visuelle kommunikation
144
lI FE A N d WO r k
Unconventional inspirational
redesign with a fun factor and
recycled furnishings.
Rebirth of Saatchi & Saatchi Thailand, Bangkok,
Thailand; Supermachine Studio
145
Q uA lIT y O F lI FE
146
lI FE A N d WO r k
147
Q uA lIT y O F lI FE
148
lI FE A N d WO r k
149
Q uA lIT y O F lI FE
150
lIV I N G
151
Q uA lIT y O F lI FE
152
lIV I N G
153
Q uA lIT y O F lI FE
154
lIV I N G
155
Through the use of layering
and folding behind glass,
this fossil site provides
a suitable backdrop for the
fossils it displays.
Zeit und Messel Welten Exhibition
in the Messel Pit Visitor Centre,
Messel, Germany; Holzer Kobler
Architekturen Zurich
156
TradiTional
maTerialS
ChriS lefTeri
157
Tr A d ITI O N A l M ATE r IA l S
This dual personality is one of the unique characteristics to create decorative surfaces more responsibly and cost-
of glass, whereby the mundane is transformed into the effectively by exploiting the high reflectivity and fragility
precious simply by the way that it is processed. you could of glass, this post-consumer waste is crushed into small
even go as far to say that glass is really defined by its fragments, which are then mixed within a resin matrix to
processing; blow it by hand and it becomes this beautiful, create a hard-wearing and decorative surface material.
sculptural and almost magical form, yet at the same time The recycled glass is sorted and divided by colour to allow
when it is mass-produced it is almost invisibly functional. for a plethora of colour opportunities to be facilitated, from
subtle white hues for the minimalist interior to dynamic-
Besides the pragmatic properties of glass such as transpar- coloured mosaics in bespoke designs. With a speckled
ency and strength, glass is also a deeply sensorial material shimmering aesthetic, this composite material is ideally
with an ability to evoke powerful emotions through both its suited for kitchen and bathroom surfaces, as it is incredibly
unique visual and tactile qualities. The capacity to interact versatile and capable of being formed into complex solid
with light can create visually stunning effects by altering the shapes including baths and sinks. It is also particularly
shape of glass, as witnessed in Japanese designer Tokujin suited to commercial environments such as offices or public
yoshiokas installation entitled Spectrum, an impressive spaces as table surfaces, seating or sculptures. Embedding
facade that exploits the unpredictably beautiful phenom- a fascinating narrative within the formed object, the idea
enon of refraction. 500 glass prisms stacked 9 m in height that I used to be a Coca-Cola bottle contextualises the
manipulate the outdoor light seeping in, and the natural material and object in a life-cycle to imbue a greater sense
light is transformed into a mesmerising display of rainbow of value. 161
158
GlASS
Translucent: the
interior of this law
firm employs a
reduced palette
of diffuse glass
and light.
Schlter Graf & Partner,
Dortmund, Germany;
100% interior
Sylvia Leydecker
159
Tr A d ITI O N A l M ATE r IA l S
160
Woo d
161
Tr A d ITI O N A l M ATE r IA l S
Private residence, Cologne, Germany; Sternen Grill & Belcaf in the Glatt rounded loft, Prague, Czech republic;
Innen-architektur. daniela Haeck Shopping Centre, Zurich, Switzerland; A1Architects
atelier zrich gmbh
Long-time classics: stone,
wood, glass and ceramics
materials that have not
grown obsolete.
162
WO O d
Wood everywhere:
the entire room and
furnishings formed out
of exposed oriented
strand board.
OSBox, Kortrijk, Belgium; 5AM
163
Tr A d ITI O N A l M ATE r IA l S
Traditional wood
shingles decorate
the rear wall of this
lounge and make
reference to the
genius loci of the
original context from
which they derive.
VIP WING, Munich Airport,
Germany; Tina Amann
Innenarchitektur
164
WO O d
165
Tr A d ITI O N A l M ATE r IA l S
An attractive plywood
veneer as flexible
sandwich panels unites
mass production with
craftsmanship and
engineering.
Flex, Sado, Japan; ply project Kenichi
Sato, material Takizawa Veneer Co.,
manufacture Takumi Kohgei Co.
166
WO O d
167
Tr A d ITI O N A l M ATE r IA l S
168
WO O d
169
Tr a d iTi o n a l M aTe r ia l S
170
Wo o d
171
Tr a d iti o n a l M ate r ia l S
172
M e Ta l S
173
Tr a d iTi o n a l M aTe r ia l S
174
Co n C r e Te
Unadorned concrete
blocks, placed and
illuminated to dramatic
effect.
Viet Hoa Mess Restaurant,
London, England; Vonsung
175
ROADS OF MATERIAL
INNOVATION
Chris Lefteri
Light is not just an entity, it can be used as a tangible With similar mood-enhancing qualities, coloured spectrum
material to enhance our sensory perception and enrich films that are traditionally used within the movie industry
our immediate environment. Seen as a material, light dis- can transform a normal lighting element into the glow of
tinguishes itself through the ease with which it can be an early morning sunrise or even crisp bright moonlight.
explored through simple experimentation. They create colour by subtracting certain wavelengths in
light to allow only specific colours to pass through, result-
Bright and direct lighting can be very harsh and may ing in hundreds of colour options, each evoking a unique
negatively impact a space by making it feel cold or unwel- personality and character. Not only enhancing the appear-
coming. A simple remedy can be found in the form of ance of a space, these films can alter the entire atmosphere
intelligent diffusing films that provide a dampening effect simply through intelligent colour selection, for instance
on light, creating a softened ambience. With numer- providing a flattering warming of skin tones through the
ous grades in various percentages of light transmission use of rosy pink tints or a calming aura through the use
at a designers disposal, one can create a wide variety of subtle amber and yellow hues. With just a simple thin
of lighting effects for either single- or double-sided film, dramatic scenarios and ambience can be attained,
coatings. The films with a lower percentage of light not only enriching the space and objects within it but also
transmission create a dim glow, whereas those with a the mood of any person who enters, to provide more than
higher percentage will give a bright light with a slight just an atmosphere but an experience. 180
176
Lift me up: a banal lift lobby transformed
into a dramatic experience that is
guaranteed to wow its visitors.
W Hotel, London, England; Concrete Architectural Associates
177
M aTe r ia l i n n ovaTi o n
178
M aTe r ia l i n n ovaTi o n
179
M aTe r ia l i n n ovaTi o n
PROTECTION
The 1950s witnessed a massive cultural shift in all forms
of design, facilitated by the inventions of new materi-
als, largely plastics. These new plastics created a bright,
optimistic-looking world. However, the future of materi-
als is going to be increasingly filled with a more invisible
functionality. We will not see a huge change in the way
interiors look due to new materials, like we did in the
1950s, but instead we will be surrounded by materials that
we cannot necessarily see but that will certainly instead
change the way we feel.
180
M aTe r ia l i n n ovaTi o n
WELL-BEING
The concept of well-being is relatively new. Until recently
hygiene, noise pollution or enhancing safety where non-
existent topics in any discussion on interior design. instead,
over the last 50 years our increasingly urbanised lives have
put a new set of requirements on the agenda that materi-
als are helping to facilitate. This emerging trend directly
impacts interior design as it corresponds with the merging
of living spaces, as for example the kitchen is increasingly
taking on the role of other living spaces within the home.
it can be difficult to envision a simple fusion of the living
room, traditionally associated with soft furnishings and
carpets, with the kitchen surfaces typically made with
hardened, solid and inert materials. The materials world
approaches these issues with the help of advanced nano-
technology in order to develop coatings that include active
ingredients capable of improving air quality, preventing
the spread of bacteria or even self-cleaning. Besides this
influx of active ingredients, researchers are also unveiling
the hidden power of patterns and structures inspired by
nature as a driving force in the development of innovative
new materials for healthier and safer living. The ground-
breaking technology of Sharklet, developed by Sharklet
Technologies inc., is capable of inhibiting bacterial growth
by using a surface constructed from millions of microscopic
diamonds. These are arranged in a distinct pattern that
mimics the microbe-resistant properties of shark skin
hence its name. This pattern disrupts the ability for bacteria
to colonise and develop into biofilms, making for a simple,
cost-effective means of controlling bacteria. at present
this remarkable surface structure is being used in high-
touch, germ-prone areas including bathroom doors, push
doors in food service areas, hygienic receptacles, hospital
bedrails, bedside control panels, nursing call buttons and
tray tables. although particularly beneficial within the
healthcare industry, the discreet nature and aesthetic of
The thermochromic this marvelous material could lend it to a wider spectrum
surfaces of this chair of applications throughout public spaces or even areas
react to body heat and of the home.
181
M ate r ia l I n n ovati o n
PERFORMANCE
Besides an increased awareness towards well-being,
another growth area in performance materials for interi-
ors is in family-proofing. Multifunctional living spaces
have focused the spotlight on the development of new
surface materials to enhance product safety, durability
and maintenance, with areas such as scratch resistance,
easy cleaning, acoustics.
182
M aTe r ia l i n n ovaTi o n
183
M aTe r ia l i n n ovaTi o n
184
M aTe r ia l i n n ovaTi o n
PERSONALISATION RESPONSIBLE
The experimental approach to surface design is being High-quality materials, surfaces and tools are no longer
taken to new extremes with the introduction of digital not just supposed to perform well during their useful life,
print technology that facilitates the personalisation of but are also to be disposable in a responsible way. Floor-
interior surfaces. industrial-scale digital printers are able ing supplier Forbo, perceived as one of the leaders in
to produce very short runs of custom sheet materials at the field of eco, produces a durable and hard-wearing
a reasonably low price to allow anyone to add their own Marmoleum exclusively using natural raw materials such
images, logos or graphics to any surface. italian supplier as timber resin, plant inks and jute textiles. recycled raw
Gruppo Frati have released neXT Floor, which is printed materials are also becoming more widespread, as recyclers
directly onto high-density fibre board, while Fn digiprint are able to offer high-quality and often less expensive alter-
in Germany supply custom printing for three-dimensional natives to virgin resources. laminate manufacturer omnova
parts including skirtings, laminate floorings and shelving have released their eFX eco-Friendly 3d laminates that
panels. even the acrylic material Corian can be printed, contain no PvC, plasticisers, phthalates or lead. Besides
as demonstrated in a showroom kitchen designed by arik flooring and laminate products, the textiles industry has
levy. This process means that one-off surfaces can be cre- long embraced the use of natural or recycled fibres in both
ated for all kinds of jobs, like small independent shops or fashion and upholstery. With the Precious Waste project,
childrens bedrooms, to add a personalised touch. other dutch designer Michelle Baggerman proves that innovation
emerging alternatives to traditional laminates include within the development of responsible materials can also
a process developed by German flooring supplier egger. stem from the production process and a re-use of materi-
The company can print patterns, colours and images als, as demonstrated in a process invented for spinning
directly onto MdF and sheet materials that can then be notoriously prolific plastic bags into strands that can be
coated with multiple layers of clear varnish for protection. woven into beautiful textiles. With their exceptional dura-
iKeas Billy bookcase is a well-known application for the bility, strength and beauty these textiles are ideal for use
process. For solid colours, two-part polyurethane paints throughout the home for all manner of interior furnishings
are also emerging as an alternative to laminates. although from curtains to upholstery.
laminates are still superior in terms of durability and overall
toughness, these two processes are expected to improve
to comparable levels as they evolve over the coming years.
Woven carbon
textiles can have
quite different
structures
here it is used
to imitate
parquet, which
can be used,
for example,
for making
furniture.
Carbon parquet floor-
ing, Aachen, Germany;
Institut fr Textiltechnik
(ITA) of RWTH Aachen
University
185
SPACE-DEFINING
SURFACES: FLOORS,
WALLS, CEILINGS
ChRIS LEFTERI
Materials define spaces in so many ways, not only in the part of the personality that will define the building or space.
more obvious form of channeling light or allowing designers on many levels our environments are becoming more
to create intricate geometries. They define our environ- defined by the personalities who shape them, for example,
ments also through association and through the stories they those of the architect, the owner or a company brand, each
embody and communicate to a user. in an age where we are of which tells a different and personal story. We are also
increasingly dependent on, and needy of, the knowledge becoming more and more reliant on experiences that new
about the provenance of the ingredients of our material materials are bringing to interiors. no longer just passively
world, the stories that these materials embody become using a space, surfaces are beginning to give feedback.
more important. For instance, if designers specify materials reflections and refractions create spaces that 20 years ago
that are in some way energy-efficient in their production, would have needed very smart and advanced electronic
this will be communicated to the users and will become devices to make them work.
186
Material Light It is important to consider not only the additional or deco-
rative surfaces that we can incorporate into an interior
For a surface that cries out for attention to generate a space but to get right down to the fundamental elements.
wow factor there are some wonderful new material Even something as mundane as wall plaster can have
combinations that capture light and channel it out in a huge impact on a space. There is a chameleon-type
unexpected ways. As you walk across certain types of technology that has been incorporated into a variety of
tiles you will be captivated by a dynamic spectrum of substrate materials that are classified as phase change
tiny shimmering lights flickering below. It may sound as materials (PCMs). These materials previously congregated
if some pretty advanced technology is involved, but this within the industrial sector for packaging and storage
surface simply relies upon the use of fibre optics embed- applications, but they have branched out and their tech-
ded within a resin or concrete block. The fibre optics pick nology can now be found within the building industry
up changes in light and disperse them onto the surface, to create a variety of very smart materials that actually
where they magically shift and move in a rippling effect. moderate the temperature of a room. The novel appeal of
The colour and movement created all depends upon the these materials is that to some extent they actually work
intensity of light, whether it be natural or artificial, with like a heater and air-conditioning unit combined by both
more dramatic contrasts being produced when light is storing and emitting heat when needed.
directed onto the surface. For instance, as you pass over the
tiles, your shadow will block the incoming light, making the Phase change materials exist in a constant state of flux,
surrounding areas appear to light up. As the tiles contain adapting themselves to the environment. Made up of
no electrical components, they can even be used within several layers, these materials contain microscopic beads
areas exposed to moisture such as kitchens, bathrooms that change state like water does when it changes to
and even outdoors. This material should not be limited ice depending on the temperature. When they change
purely to flooring applications: its intriguing behaviour from one state to another they are continually storing and
can enhance countertops or wall panels, as the blocks are emitting heat. For instance, when applied to a wall plaster,
available in custom sizes and shapes to suit the desired use. as the room begins to heat up on a hot day, the beads will
start to melt and as they do they begin absorbing some of
the inside heat to cool the room down. By contrast, when
the room begins to cool down, the beads will begin to
solidify and release the stored heat to raise the tempera-
ture back to the desired level. Using this plaster helps to
keep a room at a constant temperature. The beads can be
programmed to activate at specific temperatures so that
the liquefying and solidifying is controlled depending on
the climate. Not only do these materials enhance comfort,
but they also provide significant energy and cost savings
in heating and air-conditioning systems.
187
S PaC e - d e Fi n i n G S U r FaC e S
188
S PaC e - d e Fi n i n G S U r FaC e S
189
S PaC e - d e Fi n i n G S U r FaC e S
Hanging undulating
ceiling elements made
of LEDs and metal wire
are digitally controlled
and unite light and
sound in a unique way.
Aura Light and Sound Suites
Nightclub, New York City, New York,
USA; bluarch
190
S PaC e - d e Fi n i n G S U r FaC e S
191
S PaC e - d e Fi n i n G S U r FaC e S
Zahnarium drs. Stammen & Translucent back-lit concrete achieved using light-
Partner childrens dentist, Greven-
broich, Germany; 100% interior
conducting fibres is particularly fascinating for the
Sylvia leydecker small patients attending this dentists practice.
192
S PaC e - d e Fi n i n G S U r FaC e S
193
S PaC e - d e Fi n i n G S U r FaC e S
194
S PaC e - d e Fi n i n G S U r FaC e S
195
S PaC e - d e Fi n i n G S U r FaC e S
196
S PaC e - d e Fi n i n G S U r FaC e S
As if in the process of
growing, the graphical
blocks on the ceiling
also contain the
lighting elements.
Rebirth of Saatchi & Saatchi
Thailand, Bangkok, Thailand;
Supermachine Studio
197
woven materials:
From wool Felt to
smart textiles
Chris leFteri
198
wool Innovations in textiles is one of the leading areas of new
materials, with new types of textiles being produced from
With production at over 1 million tons per year, wool is one sources as diverse as nettles and paper. Woven paper,
of the most prolific materials used today and its manufac- which has been made famous by Lloyd Loom furniture,
ture has been a prominent industry for over 5,000 years. can be tightly twisted into a thread that is then combined
Both a natural and traditional material, sheeps wool is one with other textiles such as linen to create a rustic woven
of the worlds most sustainable and renewable materials fabric that is flexible and durable. These fabrics can be
that causes no harm to the animals that provide it. Every dyed with natural dyes to suit the existing colour scheme.
summer, a freshly shaven sheep will cool down after its The texture is not restricted to one particular structure as
winter coat has been shed before it grows back again the different weave patterns can be created to suit the applica-
following winter. Besides being extremely durable, wool is tion desired, such as a strong and stiff, an open or closed
completely compostable and will decompose in soil while pattern. This fabric makes a rustic alternative to cotton or
providing nutrients to the earth. It can also be recycled, wool and can be used for carpeting and upholstery. It can
by being cut or torn apart and the fibres re-spun to form be woven together with linen, resulting in a flexible, durable
new products. With a crimped and elastic texture, it has a textile. There are also a variety of weaves available to suit
bulk particularly effective at retaining heat that makes it different end needs. Loomtex, for example, is typically used
so comfortable as clothing, bedding or upholstery. One of as carpeting, rugs, chair upholstery, storage units, tables
the most versatile fabrics available, it can be found in all or laundry baskets; it has a natural and rustic texture that
kinds of applications, often combined with synthetics but is particularly suited to conservatories. These fabrics are
also some other more experimental substrates. an interesting combination of a low-cost and disposed-of
material that is given a new lease of life when combined
Although associated with wool felt or felting, felt can be with a very different material to create end products that
made from a number of different fibres. With its brightly are rich in texture and story.
coloured fuzzy texture, felt is instantly distinguishable from
any other fabric. It has a unique character and tactility that
give it a sense of playfulness and fun. In recent years we
have seen a felt revival where combinations of bold col-
ouring and matte surface have been used to liven up and
redefine upholsteries for sofas, cushions and even storage
units. The dressing up of furniture units has a whimsical
and animated effect that makes them appear cartoonish
or exaggerated in scale. It is even possible to create felt
from recycled plastics, allowing it to be pressed into sturdy
and rigid structures such as seating. As a low-cost and
low-grade fabric, felt can be enhanced through sensitive
collaboration with high-end materials and textures and
simplistic forms. Its appeal goes beyond its characterful
appearance, as felt is actually durable to an extreme and
can endure heavy use over prolonged periods of time.
199
WOv E n M ATE r IA L s
zonweri
ng
zonweri
ng
overgang gietvloer / bestaand
zonwering
DR 830 mm
zonwering
zonwering
zonwering
projectiescherm
MK
zonwering
TYPE: BESTAAND
DR 830 mm
zonwering
DR 830 mm
zonwering
TYPE: BESTAAND
zonwering
DR 830 mm
zonwering
zonwering
DR 830 mm
DR 830 mm
g
DR 830 mm DR 830 mm
g h
zonwering
DR 830 mm
zonwering
zonwering zonwering zonwering zonwering zonwering zonwering zonwering zonwering
200
WOv E n M ATE r IA L s
201
WOv E n M ATE r IA L s
Textiles to
sit on and
pull along:
typically used
for upholstery
and curtains,
textiles are
used here as a
room divider
and seating
sculpture.
Brownless Biomedical
Library, Melbourne,
Australia; McBride
Charles Ryan Architec-
ture & Interior Design
202
WOv E n M ATE r IA L s
203
nanoteChnologY
in
interior Design
sYlvia leYDeCker
204
nanotechnology is a quiet revolution. regarded as one of
the key technologies of the 21st century, nanotechnology
plays a role not only in construction but also in fields rang-
ing from aerospace to medicine and automotive engineer-
ing to architecture and interior design. In the design of
interiors, however, its potential has yet to be fully exploited.
Interior designers are in the special position of being able
to contribute inspiration as well as develop initial ideas for
new product developments in this field due to their abil-
ity to connect product development with specific usage
requirements.
what is nanoteChnologY?
The word nano derives from the Greek word nanos ()
meaning dwarf. A nanometre (nm) is a millionth of a
millimetre: 1,000,000 nm are 1 mm and 1 metre is a billion
nanometres (1,000,000,000 nm). While an international
categorical definition of what constitutes the nanoscale
is lacking, different nations or regions, such as the UsA
or the EU, have their own definitions. Generally speaking,
nanotechnology describes the analysis and manipulation
of materials with particles where at least one dimension is Microscopic photo of a gold
smaller than 100 nm. This threshold reflects the fact that at nanoparticle showing the atomic
this point there is a kink in nature where the properties structure.
of materials begin to change, for example their colour or INM Leibniz Institute for New Materials,
conductivity. Compared to their volume, nanoparticles have Saarbrcken, Germany
a very large surface area, which makes them potentially
highly reactive.
The fluorescent
The specific exploitation of these properties began long
effect of a
before these phenomena were explained by nanotechnol-
ogy: nanoparticles are responsible, for example, for the nanosolution.
ruby-red colouring of stained glass in historical church Test tube with nanosolution;
windows and for the extreme hardness of Damascene INM Leibniz Institute for
New Materials, Saarbrcken,
blades. nanotechnology applies to all manner of materi-
Germany
als. The term does not refer to a specific material but to
the size of its particles and the properties they have at this
scale as well as how these can be used.
205
n A n OTEC H n O LO GY
206
n A n OTEC H n O LO GY
Nanotube: this
futuristic entrance
recalls the structure of
a carbon nanotube.
Roxy/Josefine Pista Principal,
Belo Horizonte, Brazil;
Fred Mafra Architect
207
n A n OTEC H n O LO GY
Scratch-resistant coatings on
various three-dimensional
materials.
Cologne University, Germany, Institute for
Inorganic Chemistry, Prof. Dr. Sanjay Mathur;
Nurgl Tosun
208
n A n OTEC H n O LO GY
209
N a N otec h N o lo gy
210
n A n OTEC H n O LO GY
its hydrophobic
properties can even
withstand green syrup,
as our own tests show.
100% interior conference room,
Cologne, Germany; 100% interior
sylvia Leydecker
improveD inDoor air vacuum insulation panels exhibit extremely efficient ther-
mal insulation properties and are very thin, making it pos-
qUalitY sible to build very compact constructions. vIPs achieve
the same insulation effect as normal insulation materials
How comfortable we feel in an interior also depends on at a tenth of the material thickness. Put another way: the
the quality of the indoor air, both in terms of smell as well effect of vIPs is ten times greater than traditional insula-
as freedom from pollutants. The quality of indoor air can tion materials. For new construction, vIPs are especially
be improved by using air-purifying materials, which can attractive as they maximise the amount of lettable space. In
range from plasters and building boards to textiles such the renovation of existing buildings they enable the inser-
as curtains and carpets. To be effective, there must be tion of narrow constructions that would not be possible
sufficient unobstructed material surface for the volume of in the available space when using conventional materials.
air in the room. In a catalytic process, unpleasant odours The planning and installation of the panels are, however,
as well as pollutants in the air such as formaldehyde or more complex. The layout of the panels needs to be pre-
nicotine are broken down into their constituent parts and cisely planned as the panels cannot be cut to size for this
destroyed. This represents an especially interesting option would puncture the vacuum. For the same reason, they may
for tackling the widespread sick building syndrome (sBs), not be drilled, screwed or perforated in any other way. vIPs
although it only combats the resulting conditions and not are comparatively susceptible to damage and are available
the root causes. This method does not obviate the need integrated into sandwich panels of different shapes and
for adequate ventilation with fresh air and cannot remedy sizes and surface qualities. The benefits must outweigh the
high levels of relative humidity and related problems such disadvantages and the effort required when using them.
as mould formation. The products of the catalysis, such As such, this variant is not a standard means of insulation.
as carbon dioxide (CO2), also need to be extracted from
the interior.
thermal nanomaterials
Air quality has long been the focus of environmental pro-
tection initiatives. More recently various pilot projects have For reDUCing heating anD
examined the use of nanotechnologically enhanced road Cooling reqUirements
surfaces and facade paints in inner-city areas subject to
heavy traffic, as the process of catalysis is reportedly even
The indoor room temperature can be maintained at a com-
more effective outdoors.
fortable level with the help of phase change materials as
a means of latent heat storage. Using PCMs, a room stays
cool or warm for longer without the need for additional
high-perFormanCe low- energy input in the form of heating or cooling offering
thiCkness thermal a further means of saving energy. The PCM consists of
minute paraffin-filled globules, each encapsulated in a
insUlation sealed plastic sheathing, that change their state from solid
to liquid or from liquid to solid at a predefined switching
In the context of energy conservation initiatives and build- temperature, for example 24C. During this phase change
ing certification by organisations such as the DGnB, LEED period, warmth is given off or absorbed and the wax stores
or BrEEAM, the use of nanotechnologically optimised this latent heat until the material changes its state again.
thermal insulation materials offers very promising results. The paraffin PCM therefore acts as a temperature buffer.
These include vacuum insulation panels (vIPs), renders or PCMs are available as additives for plasterboard panels or
plasterboard panels with integrated latent heat accumula- plasters to even out temperature fluctuations. The mate-
tors or phase change materials (PCMs) as well as insulation rial is easy to work and can be sawn and drilled without
panels and glazing filled with aerogels. damaging it.
211
Na n otech n ology
Aerogel is another thermal material that is as visually fas- over this role. They are now produced at an industrial scale,
cinating as it is functionally impressive. It consists of 99 % and the strong and lightweight materials made possible by
of air, is ultra-lightweight, appears to float with a cloud-like CNTs offer great potential for the future of product design.
quality and has a translucence to it that seems out of this Products originally developed for space technology have
world. This association is not as far-flung as it might sound, now found their way into automobile mass production.
as aerogel was originally developed by NASA to protect Thematerials of the future may be two-dimensional crys-
people and equipment from the extreme temperatures talline graphene layers, which are at least as promising as
of outer space. The pores are so small that molecules are their predecessors: conductive, lightweight, mechanically
unable to pass between them and therefore to conduct or stable, transparent and ultra-flexible.
give off heat. The excellent insulation properties of aerogel
are not limited to heat: it is an equally effective acoustic
insulator and can be used for noise insulation. Aerogel- Energy-efficient light:
based products include glass panels with aerogel filling
or innovative insulation panels, both of which have mass super-flat and flexible
market potential.
Light-emitting diodes (LEDs) are today a widely used
modern source of artificial light and are extremely energy-
efficient. The next generation organic light-emitting
Elegant and visionary diodes (OLED) is, however, already in sight and has the
architectural forms potential to give rise to completely new products. Using
OLEDs, light can acquire another dimension: lighting will
using UHPC not come from a single tangible light source but from large
surfaces made of lightweight, flexible illuminated foils.
New architectural forms for spatial enclosures are now Paper-thin, super-flat, large-format OLED foils can, for
possible using especially lightweight and slender concrete example, function as screens in conference rooms. While
constructions made of ultra-high performance concrete this vision is still a little way off, it is no longer science fic-
(UHPC). This nanotechnologically optimised high-density tion: OLED displays are within reach.
concrete also offers other means of construction. It can be
glued, which makes it much easier to handle. UHPC con- These thin foils give off a warm light strong enough to illu-
crete makes it possible to realise complex 3D geometries, minate a room. The materialisation of light in the form of
including decorative perforations, and has the potential surface leads to the dissolution of the boundaries of spaces.
to change both the aesthetics and construction systems Light is fused with the boundaries of spaces, lending light
of buildings. architecture a new quality. In future, light may also be
used in three dimensions: three-dimensional OLEDs have
In this context, UHPC represents a perfect material for already been created in laboratories. Currently the avail-
parametric design. Nevertheless, the market will probably able formats are still very small more suitable for a mobile
be dominated by prefabricated modular elements. In the phone than an entire wall. Different lighting manufactur-
realm of interiors, UHPC is used for flooring, wall panelling ers are currently experimenting with OLEDs for relatively
or other fittings or furnishings such as tables or planting traditional uses such as desk, floor or ceiling lamps.
containers. Compared with conventional concrete, UHPC
is more environmentally friendly as it reduces the quantity Daylight is a fundamental aspect of interiors. Hand in hand
of material needed and therefore the CO2 footprint of its with this is the need to darken a space, usually using an
production, as well as the life-cycle costs due to reduced additive measure such as a blind or similar. Nanotech-
need for maintenance and repair. nology offers another, elegant and minimalist variant:
thermochromic glass that darkens automatically or switch-
able electrochromic glass that can be used to change the
Other applications atmosphere of a space but does not require a constant
electrical current.
Nanotechnology contributes to many other areas, for
example when used to make ultra-thin fire-resistant fill
material for fire safety glass, or glass-like coatings using
silicon dioxide (SiO2). In construction, the bonding of
components can be enhanced with nanotechnology to
provide increased adhesion using contact adhesion prin-
ciples similar to those used by geckos.
212
n A n OTEC H n O LO GY
Ultra-high performance
concrete (UHPC) makes it
possible to construct slender
constructions with interesting
forms here in the likeness
of Marilyn Monroe.
Surface pattern
213
n A n OTEC H n O LO GY
Thermochromic
paint reacts
paints anD light to an increase
Without light there is no colour. Light is essential for us to in temperature,
perceive colour but it can also have a detrimental effect: produced
Uv light can accelerate degrading, which is why many for example by
wood surfaces, for example, are coated with a transpar-
ent Uv protection varnish. Conventional varnishes consist
body heat.
Linger a Little Longer
of organic particles that sooner or later degrade of their
Table; Jay Watson design
own accord. With the help of nanotechnology, transparent
varnishes can be made of inorganic particles that do not
degrade and provide lasting protection.
inFormation teChnologY
Information technology (IT), Ambient Assisted Living
(AAL) and interior design are becoming increasingly inter-
twined. IT systems and AAL components are increasingly
miniaturised, which would not be possible without nano-
technology. Their sensors are being integrated into textiles,
rFID (radio Frequency Identification) systems are used to Organic: this light consists of
allow access to particular rooms and track operating pro- individual OLEDs and showcases
cesses, computers make it possible for the user to control
new lighting technology.
energy consumption and IT is increasingly being used to
OLED Lighting; Philips
communicate with the building as well as with the outside
world. IT is changing the design of interiors, whether they
are in office workspaces, restaurants and hotels or private
houses. Many processes are changing and with them the
requirements that rooms need to fulfil.
214
n A n OTEC H n O LO GY
Thermochromic coating
on the seating surface and
rear wall of a bench.
Thermo.Bench, Berlin, Germany; Low-energy production: the
J. Mayer H. Architects
use of nanotechnology means
that the moulding process
can be conducted at a lower
temperature, saving energy.
Myto Chair for Plank in collaboration with BASF;
Konstantin Grcic
215
Space illumination:
this installation unites
a projection, graphics,
light and sound to an
aesthetic whole.
BBASS installation, Ghent, Belgium;
SAQ Architects
216
the aesthetiC
qUalities oF light,
air anD aCoUstiCs
peter ippolito
Light, air and acoustics are these design elements? light a sensUal
Although often perceived merely as a functional neces-
sity, the integration of technical installations, the aesthetic bUilDing material
potential of which is not immediately apparent, offers
fascinating design possibilities. The design of light, air Over and above its functional purpose, light is one of the
and acoustics can help shape the direction, zoning and most sensual design elements in the palette of technical
layering of a space, and can significantly influence its installations. In all its dimensions, it is not only an aes-
atmosphere and impression. thetic but also a dynamic building material, capable of
lending spaces structure, shape and identity as well as
The breadth of design possibilities offered by these three a distinctive atmosphere.
building materials is diverse. In this respect, it is impor-
tant to utilise the design potential of all elements that The visual appearance, experience and form of spaces
enclose and define space, whether furniture, walls, floor can be influenced through the use of artificial and natural
or ceiling. The ceiling in particular is a surface whose light. A good lighting design concept is a product of an
design potential is often overlooked. Typically serving just intensive study of the spatial context. It creates back-
a functional purpose, the design of the ceiling should be grounds, defines visual axes, establishes relationships,
seen as an opportunity to shape the identity of a space. highlights elements and helps direct how we perceive
very often it is the only surface that cannot be concealed the hierarchy of a space. Light is essential to our percep-
and as such has the potential to significantly influence the tion of space. To fully exploit the great potential of light,
aesthetic impact of a space. An innovatively designed ceil- it is important to understand the effects of the different
ing can tell stories, awaken desires, dreams and longing or qualities of light. 220
217
LI G HT
218
LI G HT
219
Light
220
LI G HT
atmosphere.
Numptia Super Yacht; Achille Salvagni Architetti
221
LI G HT
222
LI G HT
223
LI G HT
224
LI G HT
225
LI G hT
226
LI G hT
227
LI G hT
228
LI G hT
229
LI G hT
230
LI G hT
Atmospheric lighting
in a modern inner-city
apartment.
Penthouse B27, Frankfurt am Main,
Germany; Hollin + Radoske
231
LI G hT
232
LI G hT
Translucence, texture
and structure are
heightened to
dramatic effect
through the careful use
of light and shadow.
Hilton Edge Restaurant,
Pattaya, Thailand; Department
of ARCHITECTURE Co. Ltd.
233
Lig ht
Cultural aspects of light Special light boxes and daylight lamps with different and
varying light colour temperatures are used not just in the
When different interpretations of the meaning of light are northernmost latitudes to compensate for a lack of avail-
considered, some interesting aspects arise that, when used able daylight. These lamps, which emulate the changing
for architectural lighting, can illustrate different cultural quality of light over the course of the day, support the
responses to light. Today, light also functions as a medium, human biological rhythm.
communicating messages and metaphors that originally
arose in a religious context before later becoming main- The light of more southerly countries, which is charac-
stream, and now still retain some of their connotations in terised by a pleasant, warm atmospheric colour, is often
our secularised world for example with regard to light emulated in the design of architectural lighting in northern
and shadow. In architectural lighting, intelligent lighting countries when the intention is to improve the well-being
schemes sometimes exploit certain religious connotations of people in indoor areas. There are, however, significant
of light and shadow, luminance and darkness, and good differences in lighting design in northern and southern
and evil. A lighting scheme inspired by religious associa- countries. In northern countries, warm light and large win-
tions can lend an elegant boutique a sense of drama and dows are installed to compensate for the lack of daylight
significance. Such approaches create narrative nuances while in southern countries, small windows are used to
and meanings that establish a cultural connection to our restrict the amount of direct sunlight and illumination to
collective memory or to our personal lives. protect against the heat. In Greece and Turkey, for example,
fluorescent lighting is often used because the diffuse, cold
The use of light in a cultural and political context reveals and neutral light emitted by fluorescent lamps creates a
further interesting aspects that once again underline the sense of coolness that contrasts pleasantly with the blind-
essential importance and effect light has for us as human ing light of the sun.
beings. Understatement and representation play a major
role in the development of a lighting concept. The respec- Sun deflectors equipped with sensors and slatted blinds
tive weight these are given reflects an image of society are increasingly being used to deflect daylight into rooms.
and reveals a politico-cultural intention. Depending on It is important when using such systems to ensure that
the cultural background and the desire for representation, they do not produce glare. In addition to the emotional
buildings and spaces may be illuminated at nighttime to and biological sense of well-being that daylight creates,
a greater or lesser degree: to create a certain external these systems also offer a spatial and temporal connec-
impression and communicate this outwardly; to demarcate tion to the outside world. Because the colour of daylight
the nighttime surroundings visually using light; or to leave changes dynamically over the course of the day, this can be
the buildings appearance to the shadows of the night. emulated with artificial lighting that imperceptibly changes
its colour temperature over time. A combination of warm
Light is therefore a design element that can also evoke and cool light colours lends a lighting scheme a sense of
culturally specific responses. In addition light has always organic depth that most people find pleasant and natural.
determined and influenced the biological rhythm of all liv-
ing beings. Because most people nowadays spend a large In addition to all of the above, trends, fashions, the zeitgeist,
part of the day indoors, this plays an important role and local conditions, contemporary tastes, the prevailing light
must be taken into account in the design of architectural culture as well as artistic and other cultural movements and
lighting. The state of peoples health can be positively manifestations also play an important role in shaping the
influenced through the considered use of lighting. To feel concept of a lighting composition. And even when cultural
comfortable in spaces, as well as to be able to concentrate, preferences concerning light and lighting undoubtedly play
people generally require much more light than they need a role, spaces used privately should ultimately take into
to simply see or to take in information. account the personal needs of their users.
234
LI G hT
235
LI G hT
236
LI G hT
237
LI G hT
Carefully orchestrated
lighting is used here to
highlight the shopping
experience the
reflections and curves of
the room help create a
dynamic and stimulating
space.
SHOEBALOO Shoe Shop, Maastricht,
Holland; Meyer en Van Schooten
Architecten (MVSA)
Light for
reading: this
library would
not be half
as impressive
without the
appropriate
lighting.
City Library on the
Mailnder Platz,
Stuttgart, Germany;
Yi Architects
238
LI G hT
239
AI R
240
AI R
Indoor air an invisible tion, the user may inadvertently cause pollution through
incorrect use. For example, insufficient ventilation may
design element result in the formation of mould, which can be a health
hazard. In such cases, air-conditioning systems can be
The air in a room is an invisible design element with the useful as they regulate the air exchange and can be opti-
potential to influence people in significant ways. We mally adapted to the conditions in each room. Biological,
live in an age dominated by technology in which natural physical and chemical pollutants can affect humans and
aspects are slowly but surely being displaced. However, the environment. Only a precise analysis of the levels of
technical innovations lead to technical dependencies that emissions to be expected from the materials to be used
in turn awaken a desire for greater naturalness. Interest- and of all other possible sources of contaminants, as well
ingly, what most people appear to long for is often just an as of the function of the spaces and the activities that
image of naturalness. But even then, we can still observe go on within them, can avoid or reduce the possibility of
an increasing tendency to incorporate natural and sustain- health risks.
able materials in technical solutions.
Good indoor air quality appropriate to both the function
Natural indoor air concepts that function without tech- and aesthetics of a room can lend it a tangible sense of
nical assistance or concepts that employ ecologically dynamism. This spatial dynamism can exert a real pull,
friendly technologies can consequently be interpreted drawing people into the space, inviting them to linger and
as a response to the current situation. The cultural, moral making their stay comfortable. When, for example, the
and social transformations in society have caused many quality of air in an entrance area is similar to that of fresh
people to take a closer, more honest look at environmental air, people bring the outdoors with them as they enter the
issues that goes beyond politically-correct statements of building. Well-planned indoor air concepts consider each
belief and in turn have led to a greater focus on sustain- room with an individual concept that corresponds to the
able materials. specific requirements of that space.
A pleasant indoor air climate has a positive effect on Every user perceives the air and the scent it transports
spaces and the people who use them. It facilitates and very subjectively and what one person finds pleasant is
inspires communications and interactions between people. unpalatable to another. This means that the air in a room
In spaces for private use, it heightens the sense of comfort is a transparent building material to be handled with a
and sensuality; in workspaces good air conditions improve sensitive awareness of its aesthetics. Artificial fragrances
concentration and productivity. The aim of a pleasant should not be added to the air as this can trigger allergies,
indoor air climate is to achieve a symbiosis of aesthetics, transport harmful substances into the room or simply be
function, natural feel and sustainability. If this can be the cause of general indisposition. Everyone can recall
achieved, it is possible to reduce the energy consumption visiting a perfume department of a large store where
of a space considerably. In response to the environmental the many competing fragrances cause shoppers to catch
problems of our time, environmentally friendly solutions their breath.
are being devised that reduce the degree of technical
equipment required to a minimum, resulting in a pleasant, Indoor air climatology is the study of the biological, mate-
natural and healthy atmosphere. rial and construction-related aspects that influence the
air climate in an interior. It involves the analysis of physi-
cal parameters such as air humidity, air temperature and
Components of indoor ionising radiation. These various analyses make it possible
to develop a concept for an indoor air climate that can
air concepts create healthy work, living and recreation environments.
When the climatic parameters of air velocity, air humidity
The most important component of an indoor air concept is and air temperature are evenly balanced, the resulting
the elimination of harmful or toxic substances. For this it is indoor air climate is beneficial to the human organism.
necessary to examine the proposed materials and ensure
they do not pollute the indoor air with unpleasant or toxic
smells or emissions. In addition to analysing the materials,
numerous other factors and processes must be considered
that can also lead to pollution of the air with harmful or
undesirable substances, for example CO2 , which may arise
as a product of human metabolism, germs, mould, gases,
dust, plant pollen, steam, solvents, chemical substances
and more. Numerous sources of hazardous substances
can be found in the ground, in construction materials or
are introduced during the construction process. In addi-
241
Air
242
AI R
Country air:
this landscape
in the interior
of a marketing
agency
communicates
at least a
comforting
sense of
good air.
TBWA / Hakuhodo,
Tokyo, Japan; Klein
Dytham architecture
243
Acoustics
Acoustics an aesthetic Acoustics have a poetic aspect that every person feels and
experiences intuitively. All the surfaces of a space reflect,
design element absorb or scatter sound. As a result, every room has an
individual tonal quality that triggers a subjective response
The acoustics of a space is an auditory design element con- in the listener. It is interesting to see how the unusual
trolled by technical installations whose aesthetic qualities sound of a space makes people more conscious of their
are not immediately apparent. The seemingly paradoxical hearing. Sight-impaired people are particularly sensitive
assertion that the acoustics appeal not just to the audi- to the sound of a space and need to establish a realistic
tory but also the visual senses has been deconstructed relationship between their auditory impression of a space
in the contemporary design of spaces. The design of the and their knowledge of its function. When developing an
sound of a space can be adapted to the requirements of acoustic concept, the designer must take into account
the architectural space and can strengthen the functional that the acoustic impression of a space is a product of the
and thematic purpose of the space as well its form. subjective perception of each individual.
Acoustics is an interdisciplinary field that unites physi- Technical developments present a variety of possibilities,
cal and psychological principles with experience from through the use of acoustic floors, ceilings and wall ele-
the field of materials science. The elements of acoustics ments, to improve the acoustics of a space and with it to
important to interior design include how the sound arises enrich the visual quality of a space. The combination of the
and how it spreads, the correlation between architectonic design elements light, air and acoustics can lend a space an
materials and sound and the effect of sound on the space unmistakable and unique atmosphere. The spatial function-
and people. ality of a space is always reflected in its aesthetic concept.
Interior designs create atmospheres whose expressive
Sound produced by the oscillation of air molecules and power lives from the balance between form and function,
perceivable by people is known as airborne sound. People, restfulness and energy and dynamism and aura.
machines and technical installations create sound waves,
which spread as airborne sound through the air. In this
context, sound is considered as either signal or noise: the Facets of acoustics
signal can be the sound of a conversation or the melody of
music, while noise covers intrusive sounds such as traffic The sound of music and the spoken word has motivated
noise or the noise of machinery. Architectural and acoustic people since ancient times to examine acoustics with a
concepts attempt to minimise the noise to support the view to improving the sound quality of special spaces.
desired signal so that this sound can be heard optimally. As far back as the 3 rd century BC, the first tonal sys-
tems in music were established in China, which is now
Vibrations caused by the physical movement of materials, widely regarded as the first treatment of acoustics. In anti
bodies and building elements are known as solid-borne or quity the Roman architect Vitruvius examined how sound
structure-borne sound. Sounds of this kind can only be felt spreads in amphitheatres. He had clay vessels placed
by people to a limited degree. Usually people are only able beneath each seat to absorb the low-frequency sounds,
to physically sense low-frequency vibrations caused, for improving the clarity of the spoken voices. In the Renais-
example, by a passing train. What we hear is the airborne sance the effects of spaces and their requirements were
sound caused by the object. Solid-borne sound caused examined in detail to improve the musical sound in each
by impacts, such as walking across a floor surface that room. Finally, the manifold investigations into acoustics in
is not decoupled from the structure, can however cause the 20th century have increasingly been applied to improve
materials to vibrate. If these materials have a sufficiently the acoustics of spaces and to provide a more pleasant
large surface area, the solid-borne sound impulses can also listening experience.
cause the air to vibrate. These vibrations we then hear with
our ears. For example, this is how we hear the footsteps
of someone crossing the room above us. For the architect
and interior designer, it is important to know that both the
excitation of a building element with a sound event as well
the transmission of the sound can be influenced positively
and negatively through the design of the building. Depend-
ing on the desired effect, sound events can be supported,
minimised or even largely eliminated through the acoustic
and architectural concept.
244
ACO U S TI C S
245
ACO U S TI C S
246
ACO U S TI C S
247
Acoustics
248
ACO U S TI C S
Headphones or baffle
ceiling both help
one to hear what one
wants to hear.
Google Engineering Headquarters,
London, England; Penson
249
ACO U S TI C S
The forms of individual elements can also play a signifi- Acoustics as a design element can foster identity by cre-
cant role in determining the acoustic quality of a room. ating an auditory symbol for the aesthetic and functional
Flat surfaces, for example, scatter sound differently to meaning of a space. Using aural and aesthetic means,
undulating or corrugated surfaces. hard surfaces reflect the acoustics of a space can underscore the special qual-
sound while soft surfaces absorb sound. What makes the ity of that space.
acoustic design of a room interesting is the interplay of
different textures and the different sound qualities they
produce. The contrasts between different haptic materi-
als offers numerous possibilities for designing surfaces.
Different textures and textural qualities soft and hard,
loud and soft, coarse and fine, textiles, leather, carpets,
marble, wood, metal can be included in all manner of
combinations to influence the sound of a space and its
aesthetic articulation.
Acoustic screens in a restaurant interior.
The development of an appropriate acoustic concept Flex, Sado, Japan; ply project Kenichi Sato, material
requires interdisciplinary collaboration in the planning pro- Takizawa Veneer Co., manufacture Takumi Kohgei Co.
cess: architects, acoustics designers, electrical engineers,
interior designers, media planners and operations planners
should bring their various competences to the table at an
early stage in the design process. The interdisciplinary
planning process illustrates how complex acoustics is as
a building material: there are many different possibilities
and many different requirements. Perforated surfaces,
textile coverings, curtains, surface maximisation, acoustic
plaster, coffered ceilings, ceiling-mounted sails and baffles
are just some of the many possibilities for designing and
influencing the acoustics of a space.
250
ACO U S TI C S
Acoustic panelling in an
events room needs to be able
to cope with different kinds
of events.
Hilton Frankfurt Airport Hotel, Frankfurt am
Main, Germany; JOI-Design
Bubbles: a sprinkle of
holes in the acoustic
ceiling of this waiting
room is incorporated
into the design of this
underwater world-
themed interior.
Zahnarium Drs. Stammen &
Partner childrens dentist,
Grevenbroich, Germany;
100% interior Sylvia Leydecker
251
Li g ht, Ai r A n d Aco u s ti c s
252
Lig ht, Air and Acoustics
Examples of the use of the light in a manner similar to light glistening on water.
Theceiling consists of 4203 micro-perforated, matt-finish
technical installations aluminium discs suspended at slight angles to one another.
as design elements The individual discs are mounted on a sound-absorbing
backing material. The natural atmosphere of the light
therefore responds to the light in the surroundings. Using
An integrated approach to designing the elements of the ceiling has further functional advantages: the entire
spaces and the skilful use of light, air and aesthetics offer space above the suspended discs, including the technical
new perspectives in which space creates an endless num- installations, is painted black and is therefore not visible.
ber of possible viewpoints beyond its limits. As described Ceiling diffusers and sprinklers disappear in the ceiling.
here, the use of the technical design elements light, indoor The top surface of the ceiling is sound-absorbing to sup-
air and acoustics can strengthen the impression of spaces plement the acoustic effect of the micro-perforated discs.
and through orientation, layering and zoning make its char- The ceiling design therefore unites aesthetic and func-
acter perceptible. Furthermore, these building materials tional aspects. It creates identity-giving elements, picks
have the potential to contribute elements to a space that up the spatial context of the surroundings, improves the
lend it a sense of identity. Thetwo case studies described acoustics through the use of sound-absorbing materials
here illustrate the application of these three building mate- and surfaces and creates a distinctive space that entertains
rials and the technical installations behind them. the eye with warm light reflections.
253
Li g ht, Ai r an d Aco u s ti c s
The core of the building is given extra depth through the The arcing black channels in the ceiling add dynamism to
use of wood panelling. The whitened and oiled panels have the plan of the room and create a stimulating contrast to
a vertical wavy surface, similar in look to hanging textiles, the floor, walls and columns. These channels contain all the
which scatters sound in the room in all directions to produce technical elements: the air vents, lighting and safety fittings.
a more pleasant acoustic quality. The functionality of the acoustic ceiling has a minimal design
but a great aesthetic impact. The coarse plaster of the ceil-
A zigzag arrangement of glass partitions can be used to ing contrasts with the smooth materials of the columns and
close off an area for separate events. A swarm of illuminated the floor. The arcing channels draw the visitors dynamically
acrylic glass rods hang from the ceiling and provide glare- into the depth of the room, inviting them to move around.
free illumination while making the space more intimate.
The visual patterning on the floor made of straight, narrow
Using the three design elements light, indoor air and acous- lines of grey marble inlay creates large, star-shaped orna-
tics, the design supports the functions of the canteen as well ments, a characteristic motif in the national culture, and
as the identity and conversational culture of the publisher. provides a sense of orientation in the space. The satin sheen
The staff canteen is designed as a communicative meeting of the floor and the light reflections contrast pleasingly with
area, a place of cultural and political exchange. its hard materiality. As people cross the marble floor, their
footfalls echo into the room. These sounds emphasise that
the room is a place to mingle, a place to see and be seen.
Interval foyer of the
The wavy glass facade of the restaurant adds additional
Palace of International dynamism to the room and simultaneously scatters the
Forums in Tashkent, sound diffusely across it, contributing to the good acous-
tics of the space.
Uzbekistan
Light, air and acoustics are used here to support the archi-
The interval foyer in the lower ground floor of the Palace tectural concept of a place of communication. The active
of International Forums in Uzbekistan is an example of the treatment of the ceiling and the floor strengthen the char-
interplay of the three building materials, which are used acter of the space while simultaneously lending it structure.
visibly as well as invisibly to give the room a functional and The open and generous design of the room along with
aesthetic structure. Numerous columns and a relatively low the ornamentation sends a signal of openness within the
ceiling that slopes away to the back required a solution that building. As a result the interiors unite a sense of grandeur
could lend the space a sense of lightness and elegance. and openness, which the visitors take with them into the
outside world.
The bright columns connecting the floor organically with
the ceiling appear dematerialised through their illumina-
tion. Indirect light illuminates the flanks of the columns,
shrouding their surfaces in light and lending the room an
impression of expansiveness and structure. The materiality
of the columns is given additional depth through the use of
a shimmering mother-of-pearl effect produced by Venetian
plaster, a smooth, polished white-coloured plaster with a
marble dust additive. A slot of light in the ceiling around
the top of the columns makes the columns look as if they
disappear into the ceiling and illuminates the columns so
that they appear to shine from within. All the visitor sees
is the light of the sensual object, not its source. The light is
reflected by the polished white marble floor and brings it to
life. Through the elegant use of light and dynamic design of
the ceiling, the room is given an expansive sense of depth
and a festive atmosphere.
254
LI g hT, AI r A N d Aco U s TI c s
255
medIa
mark blaschItz
Medium, the singular of media, derives from the Latin word The term medium is commonly used to denote materials
for middle. This original meaning is still used today, for that have a bearing or transporting function. In the field
example in the Small, Medium and Large labels of clothes of physics, a medium can transmit all manner of waves, in
sizes; but the word medium, and especially its plural chemistry a medium is a substance that can hold or absorb
media, is now used in many other ways, which can be other substances, and in biology the term media is used
broadly categorised into two meanings: to denote a bearing to denote a nutrient solution for organisms. In the field
material or to denote a medium for conveying informa- of technical engineering, the term media is used as a col-
tion. This differentiation is, however, provisional pending lective term for liquid, gaseous or finely dissipated solid
a categorical classification of technical media terminology substances. In architectural practice, media commonly
according to a sensible and consistent definition of the refers to the routing of infrastructure for utilities such as
term medium, or media. gas, water and sewage as well as cabling for electricity,
telephone, TV and Internet.
At present there is no generally applicable media the-
ory able to encompass the different understandings and In the field of media science, we differentiate between old
interests of the fields of humanities, technology and art. media which includes print media, gramophone records,
There is an urgent need for greater clarification in the audio and videotapes as well as radio and television and
confused language and definitions used in association new media such as cd, dVd and Blu-ray as well as Internet
with the term media which is an issue for the field of and e-mail. here a further means of differentiation becomes
cultural studies but this goes beyond the scope and apparent: between a storage medium and a transmission
subject of this short chapter. Nevertheless, I would like medium. strictly speaking, however, we need to start by
to briefly give a phenomenological overview of the broad differentiating between the terms mediation, medium
and often contradictory use of the term. The intention is and means, and as a consequence between the producer
not to undertake a methodological, academic examina- and recipient, the sender and receiver, as well as between
tion but rather to offer the reader a better understanding media that are monologic, dialogic, polylogic or interactive
of the term. in the way they operate.
256
This kinetic sculpture translates the process of form-finding in art and design
metaphorically in space. A chaotic jumble of 700 metal spheres forms itself with the help
of a concealed mechanism, electronics and the final code into the contours of a BMW.
Kinetic sculpture for BMW Museum, Munich, Germany; ART+COM AG
257
M e d ia
Media and the fine arts coloured light can be created, controlled and made vis-
ible using a wide range of analogue and digital optical
The fine arts have traditionally categorised media dif- techniques. More than ever before, graphics and painting
ferently: painting, graphics and sculpture are termed old are no longer confined to marking or visually obscuring
media and photography, film and video are new media. the boundaries of space but now have the capacity to
Architecture and its related fields are accorded a special connect the pictorial and the physical realms in a dialogic
role in this context as they have strived since antiquity to and dynamic way. For architecture and interior design, this
unite the different forms of art. As such, architecture not represents a major extension of the interface between the
only integrates different art forms both in the fine arts user and technically generated images and of the interface
and applied arts but also new and old media. between these images and space.
For quite some time, the fine arts have adopted an alterna- What would happen if we were to relate the history of
tive means of differentiation between analogue media and architecture in terms of the history of media? In a lecture
digital media: in addition to the traditional carrier media, entitled The Crisis of Linearity held in Bern in 1988,
i.e. different pigments and thinners, or different kinds of Vilm Flusser structured his text in eight chapters, in which
tools, one can now add digital, electronically controlled he elaborates eight steps from the image to writing and
hardware and software. beyond.1 From Frank Lloyd Wrights open-plan houses
from the turn of the last century, we have developed
Currently inter-media or trans-media artistic production in contemporary switchable floor plans. From Adolf Loos
both the so-called old and new media is being subsumed flowing spaces of the modernism of the 1920s followed
under the term multimedia as a new artistic genre. In this the informed space of our media society, and from Lud-
context it is important to note that in the history of art, the wig Mies van der Rohes functional-modern boxes and Le
advent of a new medium has never actually fully displaced Corbusiers cubistic spaces, we have the contemporary
or replaced an existing, older medium and this will not be hyperspheres in which living, working and recreation take
the case either with the emergence of digital media in the place simultaneously like the multitasking processor of a
20th century. Analogue pictures will continue to produced computer workstation.
using traditional media. Graphics will still created on dif-
ferent kinds of paper murals and frescoes will be continue The doors of cyberspace are open and it is rapidly being
to adorn the walls of architecture; tableaus will be applied populated from all corners. What has been state of the art
to wood, metal sheeting, composite materials and plastics; for more than a decade in finance, medicine and fine art
oil paintings will be applied to canvas frames; and this will media-networked, decentrally organised spatial situations
continue to happen manually, semi-automatically as well that are strongly shaped by the interaction between real
industrially in the form of drawings or paintings, silk screen material space and virtual action space is only rarely to
prints or offset printing. be found in the realm of architecture. If architecture is not
to lose its value as an expression and reflection of society,
It is not hard to see that there are no limits to the variety this whole aspect is an area that will become increasingly
of media and their inter-media or trans-media production important to address.
in all forms of fine art. The fundamental role light plays
in how the human brain perceives objects will ensure Vilm Flusser will almost certainly be proved right with
the continuing variety and vitality of traditional media. his call for a new type of architecture and a new design
Theappearance of surfaces is a product of how they absorb for the house: Home-as-ones-castle with its roof, walls,
and reflect light, which is in turn influenced by the pigment windows and doors now only exists in fairy tales. Material
and texture of the surface as well as the spectrum of light and immaterial cables have knocked as many holes in it
shining on it. The appearance is therefore dependent on as in a Swiss cheese: on the roof there is the aerial, tel-
the one hand on the colour, or colour temperature, of the ephone wire comes through the wall, the television takes
light that illuminates it, and on the other on the qualities the place of the window, and the door is replaced by the
of the surface, and therefore how that spectrum of light garage with the car. Home-as-ones-castle has become a
reflects from the surface. The possibilities range from ruin with the wind of communication blowing through the
transparent and translucent materials to rough, opaque or cracks in the walls.2 262
258
FI N e A r T s
259
M e d IA
260
FI N e A r T s
Visualisation of telemedicine
and its application using a
series of different stations such
as at home, at the pharmacy,
an emergency, the doctors
surgery, etc. The rays criss-
crossing the trade fair stand
represent the flow of data.
FutureCare at CeBit, Bitkom with Deutsche
Messe Hannover 2010, Germany; 100% interior
Sylvia Leydecker
261
M e d ia
At home in cyberspace of materiality and distances perceived using all our senses,
while virtual landscapes consist of pixels on a screen and
In future the implications of telematic communications will time itself, perceived as colours, contrasts and design.
determine the concepts of new architecture. Frequency The peak of a mountain in the real world corresponds to
and density of information will become the new important the depth of a link in the virtual world, the pattern of land
design parameters. In the process, the look and rhythm parcels to the document and data structure, the rhythmic
of the facade will be of secondary importance. Digitally repetition of elements in the landscape to the colour and
informed, switchable walls will serve simultaneously as rhythm of words on screen, and the speed of travel in a
the boundary of a room and as a connector (replacing real landscape to the load times and refresh rates when
wall and door), creating natural or artificial illumination surfing the Internet.
(replacing the window and light) and forming the outer
surface of individual buildings or entire sites. They may be The issue of placelessness and the accompanying ques-
transparent, translucent or mirrored, convey information tion of how we find a home in the midst of this homeless
through projections, screens or LEDs, be multi-coloured or architecture will in future lead to the development and
of a single colour, and be mono-, bi- or multi-directional. design of new living environments and communal spaces.
More is different, as Kevin Kelly3 would say. The task of the planner in the 21st century will be to design
a binary world a worldwide, electronically conveyed
Fundamental changes are underway during an age in which environment with omnipresent networks in which most of
the increasing media connectivity of households will have the artefacts (in all sizes from the nano-dimension to the
inevitable and lasting consequences for individuals as well global dimension) will have some form of intelligence and
as their living environment. On the one hand, individuals telecommunication capabilities. This hyperworld accord-
risk involuntary isolation in the Western world, singles ing to William J. Mitchell will superimpose itself over the
already account for half of all households and on the agricultural and industrial landscape that people have lived
other the public realm is making increasing inroads into in for so long, eventually succeeding it completely.
private space through the vehicle of new media we sit
in front of screens, wear headphones over our ears, and Today, the instruments of synchronology already exist
we have swapped the comparative distance of books and with which all spaces can be present at once spaces that
magazines for the immediacy of laptop and mobile phone. according to Kant have a transcendental identity, i.e. that
As we become increasingly isolated from our immediate no longer exist once we remove the conditions that make
environment while simultaneously in direct contact with it possible to experience them spaces that are a purely
the far and wide, the question is how we should lead our predefined manifestation of our external senses. All design-
lives in virtual space, i.e. in cyberspace, as well as how ers and planners will have to work within the conditions
we should live and build communally in the telepolis, as described: conditions that will not only require changes
Florian Rtzer4 has called it. It seems apparent that space to spaces themselves but also changes to the availability
is undergoing a transformation, a transformation that of spaces. The transition from dealing with spaces to con-
borders on placelessness although this placelessness trolling the availability of spaces means that our direct
has its roots and its correspondences both in the virtual relationship to things will change. If we assume that space
as well as material worlds. as a real entity will be a limited resource, that the post-
industrial process of mobilisation has already exceeded its
The question as to where home is in the midst of an increas- limits, and that peoples desire for mobility which includes
ingly decentralised media society is also a question about their desire for imagined variety and curiosity is likely
placelessness itself. In order to consider the issue of place- to increase rather than decrease, we will need to develop
lessness in the context of society, and therefore also of new ways of experiencing our living environment. These
architecture, it is useful to research the principle of what are already on the brink of being realised in the new digital
place is. One possible approach to this is the creation of world, where technological possibilities are beginning to
places of artificial places. This way of place-making begins appear ever more real. The screen is starting to replace not
to form a topography as networks start to form, and it is only the window but also the traditional doorway. Reality
through this artificial landscape that we can then derive will be replaced by observability.
an idea of what place is in its full complexity. So, the first
step towards researching the phenomenon of placeless-
ness is to examine a virtual landscape made up of places,
people, things, terms, verbs, numbers and symbols. Virtual
regions form as networks of connections between indi-
vidual landscapes and through views or links to other
places in the Internet, as well as through the form of their
surfaces. It makes no difference whether we are talking
about a real landscape or the creation of virtual topogra-
phies: the structure and poetry of real landscapes consists
262
c y B e r s PAc e
263
M e d ia
264
c y B e r s PAc e
are realities that we already experience on a daily basis on With the increasing digitisation of everyday activities and
the television, the telephone or in front of the computer. the changing built environment, the difference between
epistemologically, these realities have long been addressed outdoor and indoor space is gradually disappearing. If,
in the field of philosophy, but architecturally they have until as Le corbusier claimed, architecture is the wonderful
now been largely ignored, which is striking because these interplay of space and light, should not these new realities
new spheres of reality have in principle been with us since have a role to play in this drama?
the invention of the telephone and the radio.
265
M e d IA
266
I NTe r s PAc e
267
M e d IA
268
I NTe r FAc e /I NTe r s PAc e
269
M e d IA
270
I NTe r FAc e /I NTe r s PAc e
271
M e d ia
From intelligent provides the basis for intelligently regulating and switching
the indoor room climate. The outermost skin of this hybrid
technology to building is made of bioreactors supported on a hardwood
intelligent typology skeleton that encloses the semi-public outdoor galleries
and circulation and creates a climatic zone. This serves as
an effective climatic buffer layer that reduces energy loss
Smart buildings are not a traditional building typology in and provides the residents with a garden space that can
which smart materials replace traditional building materials be used all year round despite the cold Hamburg climate.
and the building is upgraded as it were with high-tech elec- This kind of highly networked functional and spatial system
tronic features for security, climate control and the control we have dubbed Supernature.
of household appliances. Smart buildings are houses that
are no longer primarily conceived, planned and assessed The process of creating these case study houses on a site
as an end result but instead reveal their qualities through of the IBA Hamburg provided an opportunity to explore
their ability to accommodate processes. The adaptive and realise the typological potential of advanced technol-
capabilities of smart materials mean that chronological ogy in the form of intelligent materials and intelligent
processes in particular will be of increasing importance. technologies and to relate this to the current state of
Aperformative understanding of materials and technolo- research and development, to the possibilities of the build-
gies facilitates, and demands, a new approach to the archi- ing industry, to current issues in society, to insights in the
tectural design process.5 Smart buildings therefore refer field of cultural science and to architectural discourse. This
to a future-oriented building typology, one that speaks has resulted in reconfigurable floor plans and switchable
of the relationship between the public, communal and spaces. The flowing spaces created by Ludwig Mies van der
private spheres and the use-oriented and climatic zoning Rohe, the open floor plans by Frank Lloyd Wright, Adolf
of a building. Loos Raumplan as well as the economical design of the
Frankfurt Kitchen by Margarete Schtte-Lihotzky have all
The development of smart skins is a further area of key contributed in different ways to the contemporary design
importance. As the skin is the boundary and interface of the multi-incidental shell of the Graz Apartment and
between one space and another, for example between the Hamburg Apartment: in the switchable structure
inside and outside, it makes sense that it should contain of these new housing typologies, rooms are no longer
a series of functional requirements: it can absorb light, interlocked but can change their function alternately or
be reflective, opaque, translucent, transparent, photo- simultaneously on demand, for example to form a single
voltaic, insulating, thermally retentive, self-illuminating, large neutral space one moment and separate spaces the
multi-coloured, controllable, passive, active, interactive next. In the Lightroom Apartment, entire functional units
and reversible. At present, smart skins are mostly a multi- can be switched together to face into a light-filled central
layered combination of various building elements made space. Adolf Loos Raumplan concept gives way to an
of different materials that are employed in different alter- individually controllable, temporally-changing Wohnplan
nating constellations depending on the requirements the (one that responds to how one lives). The changing pattern
building skin needs to fulfil. In addition to materials that of living and use requirements over the course of the day
bear loads, bound spaces and thermally insulate, mate- define what the apartment looks like according to the users
rial combinations are also chosen for their visual effect. needs. This is the principle of Smart Spaces with different
While smart technologies such as computer-controlled typologies of reconfigurable floor plans.
LED and OLED surfaces have a purely visual effect, smart
materials are able to change their colour, form or shape
1 Flusser, Vilm, Krise der Linearitt
reversibly in response to changing light conditions, tem- (Berne: Benteli, 1997).
perature, electrical current, electromagnetic field potential
2 Flusser, Vilm, The Shape of Things:
or chemical reaction. A Philosophy of Design, (London:
Reaktion Books, 1999), pp. 82-83.
272
sMArT sKINs
273
M e d IA
274
sMArT sKINs
275
InformatIon
technology
lars grau
By definition, information technology pervades all areas The information society is a society where the creation,
of life within an information society. This is the type of distribution, diffusion, use, integration and manipulation
society most of us live in. As a consequence, informa- of information is a significant economic, political, and
tion technology is bound to have a major impact on our cultural activity. The aim of the information society is to
daily lives, an impact manifest to a great extent in the gain competitive advantage internationally, through using
design of interior spaces. The integration of media and Information Technology in a creative and productive way. 1
technology demands a close coordination of architects, Information technology is not only the Internet. Instead, it is
interior designers, home automation engineers, media a superordinate concept for the processing of information
experts and craftsmen. With technology and media being and the hardware and software required for this. contem-
integrated more and more into interior spaces, furniture, porary and future human-computer interfaces (hcI) need
everyday objects, devices and materials, a deeper look further detailed consideration within this field as well.
into the impact of information technology from the interior
designers perspective seems essential.
276
The information society started somewhere between the so, nothing new? What is rather new is that we are witness-
1970s and today and is changing fundamentally the way ing this utopia actually turning into reality. Many people
societies work. Within the last three decades, information see this upcoming reality as a threat to some extent or
technology has transformed many areas of our lives by at least they ask the question whether we really need this
changing the way we use digital media and interact with our amount of comfort. do we need coffee cups that show
environment in almost any given context. As an example, us the exact temperature of the liquids they contain or
automotive interiors have changed completely over the seating furniture that charges our mobile phones? obvi-
last 30 years in terms of the users possibilities to interact. ously, new technologies arise because we are capable of
While cars in the 1970s were merely equipped with physical inventing them, not because we need them. The question
interfaces for very basic functionalities, vehicles today are is: what makes sense? That is where designers come into
moving supercomputers where the driver is surrounded by play. Their role is to use given technologies in a reasonable
an overwhelming set of controls including tangible inter- manner to fulfil existing user needs. As Klaus Krippendorff
faces, voice control and touch-sensitive interaction, to be puts it: The etymology of design goes back to the latin de
used in parallel in multimodal interaction. What is more, + signare and means making something, distinguishing
the automobile today not only interoperates with personal it by a sign, giving it significance, designating its relation
devices like mobile phones but also communicates with to other things, owners, users, or gods. Based on this
other cars and service operators, enabling for example original meaning, one could say: design is making sense
much better traffic jam foresight and security. (to things). 4
one key driver of this change, obviously, is the continued especially for the interior design discipline, information
miniaturisation and interconnectedness of technology, technology opens up undreamt-of possibilities. Technol-
which now allows information technology to be integrated ogy can enhance our daily lives by increasing quality,
into everyday objects, fabrics and materials. Technology adding comfort, security and efficiency while reducing
is moving away from single stationary devices that still maintenance time, costs and environmental pollution.
make up our life today into a future where technology is But it all comes down to the user the inhabitant at the
ubiquitous and invisible a permanently available virtual end. Technological systems get more and more complex,
surrounding augmenting our physical environment. highly while their usability needs to get more and more simple
integrated solutions like wearable computing are indicative for people to adopt them. This platitude is a logical side
of this trend. This vision of ubiquitous or pervasive com- effect of the information society: people are overloaded
puting is quite well understood by now and has become a with the amount and diversity of information and tech-
large-scale research topic being called The Internet of nology. As technology is also no longer transparent and
Things. Ubiquitous computing refers to invisible, every- comprehensible for end users, they need efficient and
where computing that does not live on a personal device properly working solutions as they are no longer capable
of any sort, but is in the woodwork everywhere. 2 Mark of repairing things. What is needed is comfort based on
Weiser, a computer scientist and researcher at Palo Alto technology and made available by design.
research center, predicted this (r)evolution 25 years ago
by stating: In the 21st century the technology revolution
will move into the everyday, the small and the invisible.3
277
I N Fo r M ATI o N Tec h N o Lo gy
smart home
The interior design discipline currently faces the challenge
to combine the physical and the virtual environment. Inte-
rior designers of today and especially of tomorrow need
to cope with complex technological opportunities and
fulfil central cross-linking design tasks in interdisciplinary
teams to evolve and apply sense to rich user experiences
in domestic, public and work environments.
278
sMArT hoMe
279
I nfo r mati o n Tec h n o lo gy
Many of these have been realized in the home by layering Most of these six layers demand specialists like architects,
interactive functions onto existing household appliances civil engineers, service providers, designers, craftsmen
using standardized communication facilities. Examples or other experts to be built and maintained. Although
of these include the Internet fridge13 and handheld and information technology has developed much further since
mobile devices14 supporting specific forms of interaction. the early 1980s, Brand then already understood that the
Interactive Household Objects merge interactive capabili- different levels are closely interwoven and that devices
ties with existing household objects to offer new forms within the Stuff layer are closely tied to the underlying
of interaction. These often build upon the cultural val- Space Plan layer. Unsurprisingly, interior design focuses
ues associated with existing artifacts. Examples of these on issues surrounding Space Plan and Stuff, leaving out
include augmenting picture frames with new display and the Service layer. Even more interestingly, the Service layer
interaction facilities,15 adding new communication capabili- is the one to correspond to the notable changes by the
ties to household notice boards16 and augmenting cups.17 emerging integration of information technology in terms
Augmented Furniture adds interactive capabilities to the of interoperability and connectedness.
different furniture in the home. These include the Dia-
mondTouch interactive table18 and proposals to augment To evolve compelling user experiences in ubiquitous domes-
cupboards19 and garden furniture. 20 These three different tic environments, the interior design needs to incorporate
approaches vary in terms of the prominence of the digital all three layers: Service, Space Plan and Stuff. The Service
technology and the ways in which the technology is made defines the core technological capabilities and acts as the
available to inhabitants. The technology is most intrusive foundation, whereas the Space Plan incorporates a flexible
in information appliances and then reduces in household infrastructure for the Stuff to work properly, while allowing
objects and augmented furniture.21 inhabitants to adapt in accordance to their individual needs.
280
P ubli c Envi ro nm e nt s
Public and Commercial Public venues and commercial spaces differ from residen-
tial buildings in a few simple yet challenging key issues:
Environments
1. Users have little or no control over the infrastructure.
Unlike residential environments, public and commercial Those who set the requirements are not those who use the
environments form a much broader field of applications, spaces, making it more difficult to define the actual needs
but the general considerations concerning the integration and leading to more standardised solutions.
of information technology remain the same.
2. Privacy needs are different. Technology can be used
Within commercial spaces, especially corporate environ- in a personalised and an unpersonalised manner. In pub-
ments, retail spaces and industrial facilities can be distin- lic spaces the relation of single-user scenarios versus
guished. While corporate offices, training and manufac- multi-user scenarios is reversed compared to residential
turing facilities, big retail facilities, shopping malls and environments. This means that public spaces need further
department stores mainly demand large-scale standardised examination to cope with both private and public use sce-
solutions for collaboration, marketing and communication, narios, including issues of the integration of technology.
there is a high potential for individual innovative solutions
in spatial branding venues that make use of space as 3. Instead of inhabitants, there are multiple user groups
a medium to express the corporate brand. What is often with multiple needs. Employees, customers, patients, visi-
developed for flagship stores, showrooms or single-brand tors and foreigners have different user needs, hence the
stores most certainly can and will be applied to all kinds scenarios of use differ in terms of involvement, authorisa-
of corporate environments and therefore should be of tion, service offers and information. Consider, for example,
high interest to digital native interior designers. These the user needs of medical staff, patients and visitors in a
venues demand the brand values to be communicated in hospital in relation to a family in its home.
a holistic manner to raise the users involvement. Here,
innovative technology allows to stand out against the 4. While the fields of application are identical, the focus
standard audio-visual media that people probably have differs according to the type of environment. The bigger the
seen before. This applies also to exhibition and event venues are, the higher is the need for building automation,
design for non-permanent spaces as well as institutional energy saving, security and communication technology.
venues like museums. Bycontrast, entertainment plays a subordinated role.
Public environments share another distinct specificity: 5. Last but not least, the interfaces are potentially more
the user need for personalised services. This applies to numerous than in residential buildings. Being the core
healthcare environments (for example, hospitals, assisted topic for designers, interfaces can be both humans and
living facilities and medical offices using electronic health technology here. In public and commercial environments,
records and telemedicine appliances) and also to hospital- designers need to deal with more stakeholders and more
ity and recreation facilities (hotels, resorts, cafs and bars, technological interfaces in parallel. 286
281
I n fo r m atI o n tec h n o lo gy
282
P u b lI c e n vI ro n m e nt s
283
I n fo r m atI o n tec h n o lo gy
284
P u b lI c e n vI ro n m e nt s
285
I n fo r m atI o n tec h n o lo gy
SenSe and Simplicity Interior designers need to gather the competences of, or
join forces with, an adjacent design discipline that arose
now, what is the consequence and how to deal with it? In in parallel with the emerging information technology
the past, the interior designer was in charge of the spatial interaction design. Profound technological knowledge,
quality by defining the space plan layout, surfaces, mate- methodical interaction design competence and usability
rials and furniture. besides the atmospherical aspects, expertise are needed, along with interface competence.
interior designers basically provided spaces and objects fortunately interior design education has identified this
for technology to be integrated. engineers, specialised need already.
planners and experts took care of the technical planning
and installation. Device manufacturers came up with new In the words of tom rodden and steve benford: We need
intelligent hardware and media specialists provided their to build our future ubiquitous environments in a manner
custom installations. that is sensitive to these forces and place our activities
within this changing context. If we fail to do so then we
the design of domestic interiors is facing exactly the may be constructing the 21st century equivalents of the
same challenge as automotive design, where 30 years homes of the future that dominated the world trade shows
ago engineers took care of the technical development and of the 1950s.23
interior designers defined the cars inner look and feel.
today, interdisciplinary teamwork and fundamental tech-
nological knowledge is needed. With the future scenario
of ubiquitous environments as sketched above, a holistic
user experience design process is called for to define the
usability of interfaces and add sense and simplicity to the
connected scenarios.
286
S e n s e a n d Si m p li cit y
287
technical
SyStemS
JohanneS Stumpf
288
1,50 Wh/kg*K
1,20 Wh/kg*K
ence physically, but without the underlying systems the 0,60 Wh/kg*K
an empty shell.
the fundamental purpose of all technical systems and build- heat can be obtained in a variety of ways:
ing services is to transport energy or information to where combustion processes (for example by burning oil,
they are needed. a few basic principles of physics apply wood, gas or coal)
in more or less the same form for all technical systems: solar energy (thermal solar energy systems, passive
heat gain)
the transport of heat in a solid, liquid or gaseous medium energy conversion, for example using heat exchangers
the transfer of electrical and electromagnetic energy energy conversion from electricity
the controlled transport of solid, liquid or gaseous sub- Direct or indirect use of geothermal energy
stances to and from their point of use utilisation of process heat given off from technical
installations, agricultural processes, etc.
289
H e ati n g a n d Co o li n g
Water, gases, air Solar energy can be used to heat buildings directly
(solar collectors, solar gain through windows, thermal
The distribution or circulation of liquid and gaseous materi- retention elements in facades)
als through pipelines follows more or less the same prin- Heat pumps can make use of solar energy stored in
ciples. To determine the dimensions of the distribution the ground, the air or watercourses
network, a few key parameters apply: the velocity of the Combined heat and power systems make use of excess
material transport, the quantity of material to be trans- heat generated by other processes
ported to the part of the network where it is required and Electricity from renewable sources (for example water
the pressure necessary to overcome resistances in the or wind energy) can be used for heating
pipework or ductwork. The resistance of distribution sys-
tems is a factor of the material parameters of the surfaces
of the pipework and of the material to be transported
(e.g. surface roughness, material density) as well as the
geometry of the system. Bends and changes in the cross
section of piping cause a drop in pressure, which needs to
be overcome for the material to be successfully transported
to its destination. As a consequence, simple systems are
290
h e atI n g a n D co o lI n g
291
H e ati n g a n d Co o li n g
Heat emission But once a sufficient temperature level has been reached,
they do provide a good degree of thermal comfort.
How heat is ultimately transferred to the room depends
on a large number of factors and system-dependent deci- The lower the feed and return temperatures are, the larger
sions. For the interior design of spaces, the heat emitter the surface required for the heating element, but at the
is the part of the system with the greatest impact on the same time the better the efficiency of the system. Heat-
interior. Which system is adopted, however, is subject to ing entire elements in buildings can make sense when
particular technical conditions. sufficiently large expanses of unobstructed wall, ceiling
or floor are available and the building is well insulated.
Heat is transferred from an emitter to a room or space by Radiation-based systems are generally more expensive
two main physical principles: than convection-based systems.
Convection: the heating of air as it passes over
the emitter
Radiation: the (infrared) radiation of warmth from Cooling
the emitter
In terms of energy and technical implementation, heating
The proportion of heat transferred by radiation or convec- and cooling systems have much in common. There are even
tion depends on the material of the heat emitter, its form a number of examples in which the distribution network is
and the parameters of the underlying heat distribution used for heating in winter and cooling in summer. These
system. 2 include approaches in which the surfaces of building ele-
ments are heated or cooled, for example using pipework
Infrared radiation permeates what it falls on and warms, embedded in the construction of the ceiling. Such systems
as it were, from within. Most people find this a pleasant will become increasingly important for the sustainable
physiological sensation similar to that of an open fire. operation of buildings in future. At present, however, cool-
Radiative heat sources generally do not require such high ing systems are still predominantly planned as part of the
temperatures to create the same sense of comfort. They ventilation system or as freestanding cooling appliances.
also have a series of biological advantages as they reduce,
for example, the incidence of mould formation because
the walls, floors and ceilings are also warmed from within. Cooling systems
Convection by contrast has the advantage of being quicker All systems that provide space cooling also produce
to respond. The desired indoor temperature is generally exhaust heat. In addition to the actual cooling unit, cool-
reached more quickly using convection-based heating ing systems therefore require additional recoolers to take
systems. the heat extracted from the interior spaces and ensure it is
released into the atmosphere. These exhaust cooling units
Most heat sources, including so-called radiators, utilise are often the largest part of the cooling equipment, and
predominantly the convection principle. The higher the are usually positioned externally due to their large size,
operating temperature3 of a radiator, the higher the pro- noise (fans) and dirt. The actual room cooling process on
portion of radiated energy but also the lower the efficiency the other hand takes place in relatively compact installa-
of the entire system. tion units. These too are also noisy due to the pumps they
contain, and produce condensation water that needs to be
The air outlets of air heating systems are a special case discharged. For this reason cooling systems should usu-
among convection-based systems. Their primary advan- ally be placed away from areas with important functional
tage is the speed with which they can provide warmth, but requirements.
their disadvantage is the draughts that the system causes
by circulating air at high speed. To heat rooms rationally The primary energy source used for cooling is typically gas
using air heating systems, the arrangement of air diffusers or electricity. Systems that make direct use of renewable
is especially important, and these can have a number of energy sources are already available on the market but
implications for the design of the room. are currently not economical.
292
v e ntI l atI o n
KomPressIonsKltemaschIne
compressor
diStribution and
(vapour
refrigerant)
proviSion of cool air
the systems for the absorption and removal of extracted
heat energy correspond in principle to those of heating
systems. Due to the low temperature differential between
evaporator condenser the feed and return and the low temperatures in general
(cool side, low (warm side, high (approx. 2025c), water-based room cooling systems
pressure) pressure)
require large surfaces to be effective, such as the under-
sides of ceilings and large homogeneous wall surfaces.
293
V e nti l ati o n
Cinema 4-6
For some special types of buildings, such as museums,
Kitchen 20
laboratories and treatment rooms in health care facili-
Operating room 15-20
ties, the upper and lower temperatures and humidity
levels may only vary within tightly defined boundaries. Swimming pool 3-4
Here, the design and technical planning requirements Conference room 6-8
for the size and arrangements of windows, the space Workshops 3-6
required for ductwork and installations, the placement
and design of air supply diffusers as well as the design of
the lighting concept as lighting can represent a heat load.
Health and
In many other cases, however, complex air handling comfort levels
requirements may not be necessary if requirements are
discussed in advance with the client. The tighter the
Ventilation systems are repeatedly thought to be the
spread between the minimum and maximum permissible
cause of sick building syndrome, which describes the
temperature and the minimum and maximum permissi-
increased incidence of symptoms such as red eyes, irri-
ble relative humidity, the more elaborate the technical
tation of mucous membranes and skin and other typical
means required to achieve this.
symptoms of a cold among the users of air-conditioned
buildings. It would, however, be wrong to conclude that air-
conditioning systems are fundamentally unhealthy. There
are many factors that contribute to sick building syndrome
and only some of these can be attributed to technical
installations. Some possible causes for the development
of such problems include:
294
V E nTi l ATi O n
Basic types of
20fold
ventilation and air-
15fold
conditioning systems
Ventilation and air-conditioning systems are differentiated
10fold
according to the thermodynamic functions provided by
the system.
Offices 5fold
Bathrooms
Garages
Canteens
Kitchens
Toilets
Simple mechanical systems ensure that the indoor air
Sales areas
Conference
rooms
within a given area is changed at the required rate and only
Event
Operating
spaces
theatres need fans to ensure sufficient throughput of air. These are
termed mechanical ventilation systems. Systems that addi-
Hourly air exchange rates for tionally heat the air are also termed ventilation systems.
selected room functions. When, in addition to heating and ventilation, a system
From minimum (blue) to maximum (green) provides further functions such as cooling, humidification
or dehumidification, these are then termed air-conditioning
systems. Partial air-conditioning systems are installations
Ventilation Heating Cooling Humidification Dehumidification that condition either only the temperature or the humid-
Ventilation system
ity of the air.
energy.
Unnecessary energy loss is reduced in simple systems
H-S chart
using a cross-flow heat exchanger (recuperator) between
the outdoor air and exit air. Rotary heat exchangers are
employed in complex systems in which the humidity of the
air also needs to be maintained.
Extract
Exhaust air
air
Outdoor air
Heating Cooling Ventilation
295
V e nti l ati o n
Decentralised versus The duct network is divided into sections that distribute
air to the rooms and sections that are specific to the plant
centralised air- equipment.
conditioning systems
An important aspect to consider in the dimensioning of
ventilation systems and the power of the fans required
Traditional central air-conditioning systems require more to propel the air stream through the system is the pres-
space for their installations and equipment but are gener- sure loss in the system. Every junction, every additional
ally more economical to run and less complex to maintain. component, every outlet and every bend in the ductwork
The higher the indoor air quality requirements, the more causes a drop in the pressure of the system, which has
sense it makes to choose a centralised system. to be overcome through the use of more powerful fans.
Asa consequence, a simple duct network with few bends
An alternative approach, which has become increasingly is much more economical in terms of energy use than a
widespread in recent years in office and administration complex network with many bends.
buildings, is to distribute the task of air-conditioning among
many individual decentralised systems. This is more flexible In areas where space is limited, the building services engi-
for the individual users and also helps avoid many poten- neer can reduce the cross section of the ducts if the velocity
tial causes of sick building syndrome. If well integrated of the airflow is increased, which however increases the
into the concept for the facade, this approach can have noise level of the system. This can make the use of duct
a beneficial effect for the long-term sustainability of the silencers necessary, but these also impact on the efficiency
building as a whole. of the system, in turn requiring more power from the fans.
The space required for a supply air or extract air duct is therefore
approx. 3 m 2 if it is to be inaudible!
296
V e nti l ati o n
297
So l a r P rotec ti o n
the one hand and traditional, non-mechanised systems Drywall partition 2 x 1.25cm x 2 2x 5cm + 20cm 35cm
with washbasins on = 5cm Zwischenraum =
on the other. Which of these options is more suitable is both sides 30cm
ultimately a question of the design approach and the par-
Drywall wall lining 2 x 1.25cm = 15cm 17,5cm
ticularities of the project in question. More mechanised with washbasin 2.5cm
systems are generally more prone to malfunctions and are Drywall wall lining 2 x 1.25cm = 5cm + 15cm = 22,5cm
more costly to repair and operate. with WC 2.5cm 20cm
In any case, an intelligent solar protection concept can As a rule: walls with wastewater installations should be
contribute significantly to improving the overall energy made as thick as reasonably possible and never less than
efficiency and sustainability of a building, and not just in 20cm overall.
warm climates. Because solar protection measures do not
clearly fall within the remit of the building services engineer, Bends and curves in wastewater installations can also give
architect or interior designer, it is especially important to rise to conflicts with other systems and the room design.
carefully agree the aims, methods and effects of planning 90 bends are not suitable for the free flow of wastewater
decisions in this regard. and bends therefore usually have an angle of between 45
and 75. An area where problems commonly arise is the
junction between the wall and ceiling or the wall and floor.
These cannot always be detected in the plans provided by
the building services engineer, and it is advisable to draw
or sketch a detailed section through the junction during the
design stage to avoid problems arising during construction.
298
ga s a n D Wate r
gaS inStallationS
gas installations are usually found in buildings with special
uses (laboratories, hospitals, etc.), catering establishments
or for the gas supply for heating systems. their basic struc-
ture is very similar to that of water supply installations.
for the interior design concept, there are only a few par-
ticular aspects of such installations that need to be taken
into consideration.
Water purification
a special form of water installation is the provision of dem-
ineralised water. Depending on the intended use, there are
different degrees of technical water purification. for ventila-
tion systems the use of demineralised water is advisable to
minimise fouling in the ventilation systems. as demineralised
water is chemically aggressive, non-ferrous metals or plastics
are typically used for the pipework, but these can have fire
safety implications, which in turn can require more space
for the fire protection of technical installations.
299
E n e rgy
300
Co ntro l Sys te m s
Putting it all together: One characteristic of the field level that offers room for
design possibilities is that different kinds of signalling
measuring, control and devices can be combined relatively freely. The sensors
regulation systems and actuators are connected to the data network on the
next level via small microcontroller-driven direct digital
control (DDC) modules that translate the signals coming
The notion of the intelligent building dates back to the from the sensors into a corresponding digital protocol.
age of modernism, but today we are closer than ever before These modules are often manufacturer-specific and usu-
to turning this vision into reality. ally connected via proprietary protocols.
Light fittings that order a new bulb when the bulb blows,
or signal in advance that it will soon fail, and houses that The automation level
turn on the heating when someone enters the room are just
two examples of a series of new possibilities for the field The automation level concerns the data exchange between
of interior design. If the designed surface of the house is the DDC modules and the control and management level.
thought of as the user interface of a machine house that In recent years various manufacturers have developed
can communicate with its users, there is vast potential for their own data communication protocols or so-called
new ideas and future concepts. Compared with the develop- bus systems such as BACnet or LON-Bus. The resulting
ment of human-computer interfaces, the current state of the dependency on manufacturers for replacement parts and
art of human-building interfaces is still very rudimentary: at attachment of third-party products has led to an increased
present we are still in a time long before the invention of the interest in open standards such as TCP/IP familiar from the
mouse, in the dark ages of text terminals and punched tape. IT sector. This is likely to expand in future, so that it will
become possible to choose more freely between combina-
Nevertheless, modern data technologies have played a role in tions of components.
building services for some time, most notably in the area of
building automation. Here a so-called level model is used
in which the individual components of a building automa- The management level
tion system are categorised in functional areas of differing
degrees of abstraction. The management level concerns the processing of the
signals from the automation level, its visualisation using
different methods, and its control through a variety of
The field level events. Control systems make it possible to couple different
bus systems with one another via so-called gateways.
The field level concerns the sensors and actuators attached Theoutput of data and its processing via control functions
directly to the equipment to be monitored and controlled, can take place through a series of different channels.
as well as the signals they communicate. A variety of digi-
tal or analogue components are used, depending on the The management level is the level at which the user inter-
application area in questions and the product philosophy face of building automation can be designed. It controls
of the manufacturer. The degree of intelligence of these how the measured values from the field level are displayed
components can vary considerably. In addition to basic and how the user can influence them. Over and above
units that simply signal a physical event in the form of an conventional control methods with screens for display and
electric resistance or an electric current, there are also more mouse and keyboard as input devices, a series of alterna-
sophisticated mini bus systems that communicate with tive control methods are also conceivable: gesture-based
one another on the field level. control, voice control, controls that respond to body move-
ment and so on.
Using modern sensor technology, almost every physical
condition of a technical installation can be measured. There At present this field remains the domain of the building
are sensors for measuring the temperature, humidity, air services engineer, and interior designers have yet to explore
pressure, pressure in fluids and solids, wind speed and this aspect of communication between the user and the
direction, light intensity, gas concentration, electromagnetic building. Sooner or later, however, interior designers will
and radioactive radiation, voltage, resistance and current. recognise the vast potential for design that these techno-
To control them, a series of motors, motor-driven valves, logical developments can offer.
flaps and pumps are available.
301
fI r e P rotec tI o n
fire protection
fire protection in the context of buildings usually refers
to preventive fire protection, which covers all meas-
ures intended to prevent fires occurring or spreading in
buildings. an interior designers scope of responsibility
includes the implementation of fire protection measures
that relate to the buildings structure and construction, but
the technical installations required for fire protection sys-
tems can also impact on the interior design in a number of
ways. In addition, interior designers need to pay particular
attention to inflammable building materials that may not
have been evaluated by fire protection engineers or are
not directly subject to statutory regulations.
302
Fi r e P rotec ti o n
303
building in
exiSting fabric
JohanneS Stumpf
Prevention of falls:
barrier-free rooms will
become increasingly
important as
demography changes.
Hospice, Stiftung Marienhospital,
Euskirchen, Germany; 100% interior
Sylvia Leydecker
304
Barrier-free access Tactile markings along routes for the visually
handicapped
In todays democratic society, all people have a right to Additional handrails or supports for the frail and infirm
equal treatment, regardless of physical or mental ability Alarm systems
or disability, gender or other factors. One aspect of this is Wayfinding systems with legible, good-contrast
the requirement that all buildings be accessible to more or typography
less the same degree for all people, with as few restrictions Colour coding of zones in buildings to provide
as possible. For the design of the built environment, this orientation for people with memory disorders
means that one needs to take into account a large number
of possible disabilities. For the designer, it is important to know the anticipated
user groups. As a matter of principle, this is dependent on
People in wheelchairs are just one of many groups of the use of the building and is therefore an aspect that the
people to whom this applies. Nowadays the term acces- client should clarify in the project brief.
sibility has a much broader connotation and tends to refer
to providing for the expected needs of the actual users The barrier-free design principles set out in national stand-
rather than the more general one-size-fits-all princi- ards are predominantly for implementation in publicly
ple. In the contemporary understanding of accessibility, accessible buildings, but can equally be applied to all kinds
this can therefore range from giving staircases sufficient of buildings. Early on in the design process, the interior
contrast to help people with sight impairments to the designer should agree with the client, and his or her acces-
avoidance of coarse-mesh metal gratings in areas where sibility compliance representative, which standards and
women are likely to be wearing high heels. As the number guidelines apply. Likewise, all aspects of the design, such
of older people in society rises, accessibility will increas- as the choice of colours, surface treatments and materials,
ingly become an issue we will need to address in the design should take into account accessibility requirements and
of our environment. This applies to almost all developed where necessary be discussed with the clients representa-
countries around the world and will have a considerable tives as early as possible.
impact on how new buildings are designed and without
doubt also on the existing building stock. In many cases, Unfortunately, the degree of regulation in the field of
existing buildings were not designed to take into account accessibility has in some cases reached excessive levels,
the particular needs of an aging society. As such, it will be and well-meaning representatives or agencies sometimes
necessary to retrofit buildings accordingly. This will involve stipulate demands that go far beyond what is actually nec-
adjusting floor plans (for example making bathrooms and essary. For example, some accessibility recommendations
kitchens sufficiently large to move around in) as well as define which typeface may be used along with type size
introducing new fittings. and colour usage, all of which are unnecessarily restrictive.
It is a matter for the responsible designer to work together
Since the mid-1980s, standards authorities throughout with the client to determine and document which require-
Europe have strived to introduce mandatory design prin- ments need to be catered for and to what degree. With the
ciples for accessible buildings. In addition to regulations appropriate justification, deviations from the regulations
for improving accessibility in the public sphere with ramps, may often be permissible. 310
305
ba r r I e r - fr e e acc e s s
Handrail in an elegant
residence for the elderly.
Residence for the Elderly, Les Jardins
dAlysea, Roeser, Luxembourg; JOI-Design
306
ba r r I e r - fr e e acc e s s
307
ba r r I e r - fr e e acc e s s
Barrier-free accessibility is
important for all areas of hospitals
that patients have access to.
Benjamin and Marian Schuster Heart Hospital,
Kettering, Ohio, USA; Jain Malkin Inc., LWC Inc.
Barrier-free access is a
recurring aspect in day care
centres.
Day care centre Grevesmhlen, Germany;
baustudio melchert+kastl
308
co n s e rvatI o n o f h I s to r I c b u I lD I n g s
309
Conservation of H istoric B u ildings
310
CO N S E RVATI O N O F H I S TO R I C B u I LD I N G S
The conservation of a monument requires maintenance on All works undertaken on a monument must be precisely
a permanent basis. The best means of conservation is its documented in the form of reports, drawings and pho-
continued and respectful use. tographs and the results made available to interested
researchers and the public.
A monument should always be seen in its entirety. Traces
of history on the monument should be preserved. These comparatively simple principles can, however,
in practice lead to extraordinarily complex solutions. Inte-
The aim of restoration is to preserve and reveal the aes- rior designers who work in the field of conservation are
thetic and historic value of the monument. The restoration regularly faced with the need to weigh up the individual
of a monument as a special case can only be justified in requirements of a project and to find an answer to these
exceptional circumstances. that also respects the conservation requirements of the
historic building. Depending on the kind of object, its
Traditional techniques should always be given priority over history, condition and the intended use, the importance
modern techniques. The use of modern techniques for of these requirements can vary considerably and have a
conservation should be undertaken and evaluated using direct impact on the design concept. 321
scientific means.
Without leaving a
trace: this cultural
exhibition in a world
heritage site could not
impact on the building
at all and needed to
be removable without
leaving even the trace
of a drawing pin.
Ex Oriente Isaak und der weie
Elefant Exhibition, Aachen,
Germany; 100% interior Sylvia
Leydecker
311
CO N S E RVATI O N O F H I S TO R I C B u I LD I N G S
312
CO N S E RVATI O N O F H I S TO R I C B u I LD I N G S
The salon,
once the heart
of social life
in historical
buildings,
has been
inhabited by
a hairdresser
who has
chosen to
reinstate
a vintage
character.
Salon Nemetz, Munich,
Germany; DESIGNLIGA
313
CO N S E RVATI O N O F H I S TO R I C B u I LD I N G S
314
CO N S E RVATI O N O F H I S TO R I C B u I LD I N G S
Interior designers
renovate and
modernise old
buildings. This building
from the late 1800s
has been sensitively
restored and radiates
the glory of times past.
Conversion and renovation of a
listed villa from 1900, Dren,
Germany; FRANKE Architektur I
Innenarchitektur
315
CO N S E RVATI O N O F H I S TO R I C B u I LD I N G S
316
CO N S E RVATI O N O F H I S TO R I C B u I LD I N G S
Shades of overseas:
the directors office
in this listed historical
building exudes an
aura of respectability
and the history of
shipping companies.
Offices for International Shipping
Company, London, England; SHH
317
CO N S E RVATI O N O F H I S TO R I C B u I LD I N G S
318
CO N S E RVATI O N O F H I S TO R I C B u I LD I N G S
Sign here:
communicative
staircase in an old
warehouse.
Staircase, London, England
319
CO N S E RVATI O N O F H I S TO R I C B u I LD I N G S
320
CO N S E RVATI O N O F H I S TO R I C B u I LD I N G S
Pattern: an ornamental
painted border in an
old industrial building.
Bonn, Germany
two different
approaChes to
Conservation: neues
MuseuM and alte
Pattern: marble
nationalgalerie
around a bathtub in berlin, gerMany
gives a historical
The recent restoration of two buildings in Berlin, the Neues
building an Museum and the Alte Nationalgalerie on the Museum Island,
appropriately exemplify two contrasting approaches to the conservation
authentic touch. of monuments. Both buildings are part of the Museum Island
DenkmalBad, Cologne, world heritage site, which was founded as a Sanctuary
Germany; SEITENANSICHT for Art and Science from 1830 onwards.
Innenarchitektin
Martina Lorbach unlike the Neues Museum, rebuilding efforts for the Alte
Nationalgalerie began shortly after the end of the war so
that it was possible to open parts of the building to the
public in 1946. In the 1950s, the building was comprehen-
sively renovated and the destroyed staircase rebuilt in a
simplified form. There were few further alterations until
German reunification. A general restoration programme,
for which detailed plans had been drawn up in the 1980s,
was not undertaken.
321
Conservation of H istoric B u ildings
After reunification, the plans were re-examined in 1993. visitors to the building. As such, the interior design task of
The commissioning of the architectural office of HG Merz the renovation was not to conserve the status quo but to
to undertake the reconstruction work in the turbulent years work from the existing situation and add a new temporal
after the reunification turned out to be stroke of good layer. In contrast to the concept for the Neues Museum,
fortune: with a clear sense of form, colours and materials therefore, the intention was not to articulate the breaks
and a love of detail, he oversaw the renovation work for in time but rather to sensitively reorder and augment the
the Alte Nationalgalerie from 1997 to 2001. existing situation in the same way that the interventions
of the past had done.
In contrast to the Neues Museum, which had remained
a ruin for 65 years and had changed little over the years In order to realise the extensive technical installations
prior to its renovation, the Alte Nationalgalerie was used and the third exhibition floor required by the client, itwas
more or less continually and went through several clearly necessary to make major interventions in the existing build-
identifiable periods. ing. In the region of the Great Hall on the second floor, all
insertions were taken out to reveal just the structure so
The concept for the renovation of the Neues Museum devel- that a new floor and the ventilation ductwork could be
oped by David Chipperfield Architects and Julian Harrap installed. The original insertions were dismantled, placed
had two main aims: to reinstate the original volume through in storage and then reinserted after the technical instal-
the construction of a new northwest wing and to repair lations had been completed.
and restore the parts that remained. In addition a range
of new technical installations were necessary lighting, Following the idea of adding a new temporal layer, the
air-conditioning and security measures as a 21st-century heavily reconfigured areas of the central halls of the sec-
museum has quite different requirements for the conserva- ond floor and the new halls on the new third floor employ
tion of exhibits than a building in the 19th century. a vocabulary of forms and materials of their own that,
rather than contrasting with the existing building, pick up
The interior design concept uses the existing ducts and its general colour and texture. In particular they reproduce
shafts to route the required technical installations to where the quality of light of the former top-lit halls through the
they are needed. It was nevertheless necessary to make insertion of an illuminated ceiling.
numerous openings in existing walls and ceilings that,
after the installation of the necessary utilities, were then As a result the Alte Nationalgalerie makes a coherent
closed again using modern restoration techniques and impression on its visitors. The concept avoids dramatising
materials that correspond as far as possible to the original the changes in period without eradicating the legibility of
material. The intention was as can be seen throughout the different time periods.
the building to keep elements that show the buildings
own decay and damage and to allow this to remain as an The examples of the Neues Museum and Alte National-
aesthetic quality. galerie demonstrate clearly the difficulty of translating
the pure principles of the Charter of Venice into archi-
Chipperfield and Harrap employ this principle throughout tectural and interior design practice. In every design task
the building. Damaged surfaces remain as fragments; lost in the field of conservation, it is necessary to carefully
sections of wall murals are not augmented with missing weigh up which of the respective conservation aims should
elements but simply filled in with the same basic colour and be pursued and the means with which to achieve them.
structure. All new elements have a subdued, refined and With this in mind, it is vitally important for the designer
simple materiality that does not compete with the sumptu- to communicate to other professionals and consultants
ous colour of the original building. The design conserves in the team that a holistic design concept will always be
the building, as it were, in the epoch of its destruction. Itis an interpretation of the existing context. Measures such
always possible to tell apart the old from the new. as exposing the wounds of history, the completion
of missing building fabric or the closure of defects are
This approach, which in its essence follows the guidelines all a form of design intervention that wherever possible
of the Charter of Venice, also succeeds in creating a quite should follow a consciously formulated strategy. As such,
individual and very deliberate aesthetic expression of a the sensitive and harmonising repair of a building as well
clarity and lucidity rarely seen one that goes much further as the conscious decision to articulate the different time
than the objective of conservation alone. periods are both possible valid approaches to renovating
a building an approach that should ultimately always be
A contrasting approach to this can be seen in the concept seen as a design task.
for the general renovation of the Alte Nationalgalerie.
Asthe building has been in constant use with only one
major interruption during the war it has, over the course
of its 125-year history, acquired layer after layer of temporal
periods, each worthy of conservation. The war damage
had been largely repaired and was no longer apparent to
322
CO N S E RVATI O N O F H I S TO R I C B u I LD I N G S
Views of the
museum showing the
transformation.
Reconstruction of the Neues
Museum, Museum Island Berlin,
Germany; David Chipperfield
Architects
323
Conservation of H istoric B u ildings
Historical background alterations but overall remained in a reserved for paintings. The Great Hall
near-original state until the Second on the second floor contained designs
Neues Museum World War. In the last few years of for frescos and a larger-than-life bust
the war between 1943 and 1945 it was of the artist Peter Cornelius.
The Neues Museum was built between badly damaged. The main staircase was
1841 and 1855 on the orders of King gutted by fire and the northwest wing The first alterations to the building
Friedrich Wilhelm IV of Prussia accord- destroyed entirely. Unlike the other followed the appointment of Hugo
ing to plans by Friedrich August Stler. buildings on the Museum Island, the von Tschudi as director in 1896 and
Even its process of development is Neues Museum was not reconstructed his stronger focus on more modern
historically significant as it employed but was more or less forgotten and and international artistic movements.
numerous technologies that at the time became a romantic ruin. The rooms Thehanging scheme in the Great Hall
were revolutionary, such as the use of that were still intact were used as stor- was changed significantly for the first
steam engines, lightweight brick con- age, but everything else slowly decayed time, and Tschudi also transformed the
struction and cast iron. over a period of 65 years. In the mid- monumental and somewhat gloomy
1980s, the German Democratic Repub- sculpture hall into a gallery for paint-
The Neues Museum was originally con- lic (GDR) finally decided to repair the ings by introducing more intimate, cab-
ceived as a universal museum in which building. However, with the exception inet-like insertions. Further alterations
every epoch of human cultural history of some initial repairs to the founda- followed under his successor Ludwig
had a room of its own, arranged in evo- tions, this had not progressed beyond Justi, who became director in 1909.
lutionary order. Stler succeeded in the planning stage by the fall of the The Great Hall on the second floor was
incorporating the design of the respec- wall and German reunification in 1989. sacrificed in favour of smaller halls with
tive interiors as well as the construction skylights and suspended ceilings, and
methods used into a unique cosmos The building therefore remained a ruin the apse on the first floor was exten-
of meaning. The construction method for almost 65 years. Plans for its recon- det through the so-called Justi Cabi-
employed followed the epoch of the struction only became more real after nets, continuing the pattern begun by
exhibition or reflected the items being the reunification of Germany. After Tschudi. Under Eberhard Hanfstaengl,
exhibited. Egyptian history, which was a series of competitions, a design by who replaced Justi in 1933 after his
exhibited in the lower storeys of the David Chipperfield Architects was cho- dismissal, the alterations were contin-
building, was presented in rooms with sen in 1997 and realised between 1999 ued on the second floor. The rooms
hypostyle-like heavy pillars, while the and 2009. were given a light grey surround and
Roman exhibits were in rooms with were made generally more sober. Hanf-
arches and cupola constructions. staengl retained the concept of the
TheNiobid room and the Greek room, Alte Nationalgalerie rooms with skylights.
which contained a collection of sculp-
ture plaster casts, are roofed over by The first designs for the Alte National- Between 1943 and 1945 the building
a lightweight cast-iron construction. galerie were drawn up in 1841 shortly was heavily damaged. The second floor
The integration of technical services in after the plans for the Neues Museum. suffered a direct hit from an artillery
the mid-19th century is a further special Based on a sketch by Friedrich Wil- grenade, destroying load-bearing walls
characteristic of the building. Stler helm IV, Stler developed a concept and the floor, and the monumental stair-
planned an ingenious system of inte- for a large hall-like building that ini- case was destroyed in a bomb attack.
grated ducts to provide the rooms with tially had no clearly defined purpose. In addition, the facade was badly dam-
fresh air. The building was also one of The plans were not put into effect until aged by infantry fire in the final days
the first to boast a combined central 1861 when the Wagener collection was of the war.
heating and hot water system. bequeathed, giving the building a con-
crete purpose, as the State of Prussia
Numerous rooms of the building also had agreed in return to construct a
featured good-quality wall murals, national gallery to house it. Stler
which were only finally completed in produced a design in 1862, which was
1866. A typical characteristic of the accepted shortly after by the King. The
time was that original stone was only building was realised with a few fur-
used sparingly due to the high cost of ther modifications to Stlers design
its procurement. Many surfaces were between 1867 and 1876 by Johann Hein-
therefore finished using stucco tech- rich Strack.
niques aimed to imitate the impression
of stone. Only the first and second floors were
used for the actual gallery spaces.
In the years that followed, the build- Thefirst floor contained a large hall for
ing was subject to a number of minor sculptures while the second floor was
324
CO N S E RVATI O N O F H I S TO R I C B u I LD I N G S
Sensitive interventions:
interior and exterior views of
the monument par excellence
during the renovation.
General restoration, renovation and conversion
of the Alte Nationalgalerie, Museum Island
Berlin, Germany; hg merz architekten
museumsgestalter
325
Project
management
Johannes Stumpf
Tell me how your project started and Ill tell you how it ends.
(Quote from an unknown project manager)
All projects, regardless of their kind or size, involve the The standards for undertaking these activities differ con-
same activities: siderably depending on the cultural context, as does the
point of transfer between planning and execution and
The project aim and the resulting requirements need to between client and building contractor.
be defined
A functional, economic and design concept needs to be There are, however, a few key roles that are always required:
developed to realise it The client, who defines the project aims, stays informed
The project must be reviewed to ensure it conforms to about the progress of the planning and execution of
the necessary statutory requirements the project, makes decisions about possible necessary
Technical details necessary to implement the concept changes, reviews and accepts the final work and pays
need to be developed for the work undertaken.
Contracts need to be agreed with contractors The designer/planner, who advises the client, develops
The work of the different trades and technical installa- an aesthetic, technical and functional concept based
tions needs to be planned and coordinated on the clients requirements and prepares all necessary
The work needs to be undertaken plans and documentation for executing the project.
The work undertaken needs to be verified and paid The contractor, who undertakes individual services as
specified in the documents prepared by the planner.
326
Each of these people is normally responsible for the activi- The construction phase, which is by far the most complex
ties they undertake, but they are not responsible for clari- phase of project management because the majority of
fying the handover points or for aspects outside their own the project resources are deployed here and problems
sphere of influence. Misunderstandings between project that arise impact directly on the time schedule and
participants can therefore arise unexpectedly and endan- overall costs. Project management tasks in this phase
ger the progress of the project. This is where qualified include monitoring the construction process, building site
project management can play a role by establishing clear quality management and cost controlling (management
structures and procedures for the project that define of additional cost). In addition, project management is
responsibilities and handover points and by implementing responsible for preparing the inspection and acceptance
a control system. of completed works and its documentation.
Modern project management serves mostly as a support The project completion phase, in which the technical and
function for the client, helping to keep track of the magic cost-related aspects of the project are documented with
triangle of cost, time and quality. The extent of services the aim of making the building ready for use. Project
provided and the means used vary considerably depending management activities in this phase include conclusion
on the kind of project and its specific requirements, but of all contracts and acceptance of the work undertaken
in any case this should be determined by the client at the and any necessary preparations required to make the
beginning of the project, i.e. when preparing the project. building ready for use.
Project managers help in:
Project management makes sense for projects of any size,
The organisation, communication, coordination and although smaller projects do not have a dedicated person
documentation of all processes and aims solely responsible for the above tasks. Many clients assume
Specifying and monitoring quality levels and quantities that the architect or interior designer will undertake this
Defining and controlling the budget and financing role automatically. In certain circumstances this may also
Arranging and monitoring completion deadlines, the be a practicable solution, but it is then advisable to clearly
capacity of the project participants and any logistical define the specific areas of responsibility in a contract,
requirements along with the payment terms where applicable, as this
Drawing up and agreement of contracts with project usually exceeds the normal level of services provided by
participants and any necessary insurance policies an architect or interior designer.
327
Making of... behind
the scenes on various
building sites.
Germany
328
Interactive and on time
without effective
project management
the IFA Gala would not
have been possible.
IFA (consumer electronics trade
fair) Gala 2011, Messe Berlin,
Germany; KINZO
329
interior design
without frontiers
thoMas welter
Designing and building in a foreign country presents many and physically taxing, and misunderstandings caused by
opportunities, but also many risks. The different regional cultural differences can have financial consequences. Inte-
and national building traditions offer opportunities to rior designers who design and build abroad must be pre-
create extraordinary projects, and it is stimulating for any pared for unexpected setbacks because business cultures,
creative professional to work in other cultural contexts. decision-making structures and adherence to agreements
But what does the provision of cross-border interior design in other countries can differ considerably from acceptable
services actually entail? practice at home. In addition, interior designers who work
abroad are often faced with the following major and minor
The term export in this respect is not an accurate descrip- difficulties:
tion: cross-border design services are not generally the
one-sided sale of services abroad but cooperative projects Problems with the language and culture
where interior design offices at home and abroad work Lack of support on site
together for a foreign or internationally operating client. Difficulties in dealings with local authorities
A lack of knowledge of local building and administration
regulations and property rights
Challenges High logistical overheads relative to the resulting profit
330
Knows no bounds.
Similar furnishings,
different contexts and
different appearances
Europe and the United
Arab Emirates.
Sana Kliniken AG Headquarters,
Ismaning, Germany; 100% interior
Sylvia Leydecker (top and opposite
page). Emirates Lounge, Mumbai,
India; JTCPL Designs (bottom)
331
I NTE R N ATI O N A L P R AC TI C E
prerequisites serviCes
Not every interior design office will be in a position to suc- Interior designers develop general concepts and detail
cessfully realise projects abroad. On the one hand, the size solutions for the interiors of buildings, and sometimes for
of the contract must as a rule be larger than a comparable temporary or mobile spaces. While there are no compelling
project at home to justify the additional costs involved. grounds to commission an interior designer from another
In addition, supplementary costs such as travel and possi- country, there are various reasons why it can be advan-
ble translation services impact on the fee income normally tageous for internationally oriented clients to work with
required to conduct similar work at home. interior designers who also work internationally.
Interior designers who wish to work abroad should have One important motive is the search for new and creative
the following prerequisites: solutions to a design task. For example, designers and plan-
The interior designer and one or more staff should have ners from other cultures typically bring a fresh interpreta-
a good command of the client countrys language tion to local design and building traditions. Sometimes a
Intercultural skills and an affinity with the people and particular design needs to be transferred as accurately as
culture of the client country possible from one country to another.
Private contacts in the country to be able to settle
in quickly and establish relevant formal and However, what attracts foreign clients to German interior
informal partners design offices in particular is less the creative image of
Ideally a member of staff from the client country with a interior design from Germany than their technical and
good knowledge of the prevailing local conditions organisational expertise, and especially their ability to
ensure projects are completed on time, without defects
A certain degree of additional organisational outlay is and within budget. These are the qualities and abilities
unavoidable when working across borders. A website in of German design offices that are most highly valued
a suitable foreign language, for example, is essential for and sought after abroad. Market research on the export
finding work abroad. Such expenses are more easily borne chances of German architects repeatedly comes to the
by large- and medium-sized firms than by one-man-bands same conclusion: high-quality standards, the ability to
or small design offices. realise technically innovative solutions and to organise
the entire project is what people abroad associate with
Whatever the case may be, a sound economic home base German interior design offices.
is essential in order to be able to cushion the effect of
planning delays or outstanding fee payments with other These secondary virtues of German companies punc-
income sources. Those who are already up to their neck tuality, reliability and the ability to complete projects on
financially at home should not even consider taking on a schedule and on budget represent the added value that
project venture abroad. interior designers from Germany should be aware of and
should highlight accordingly in their marketing initiatives.
International: 3 letter
IATA airport codes used
on the doors of toilet
cubicles.
Samas Office Furniture Headquarters,
Worms, Germany; 100% interior Sylvia
Leydecker
332
I NTE R N ATI O N A L P R AC TI C E
333
I nternational practice
334
I NTE R N ATI O N A L P R AC TI C E
Cultural differences
as seen in this public
toilet for men in Brazil.
Banheiro Publico Masculino,
Vitria, Esprito Santo, Brazil;
Fabiane Giestas
335
I NTE R N ATI O N A L P R AC TI C E
Trattoria di
Napoli, Istanbul.
Candido Restaurant,
Istanbul, Turkey; GOTWOB
336
I NTE R N ATI O N A L P R AC TI C E
Traditional Italian
pasta in Hong Kong.
Spaghetti Tales Restaurant, Hong
Kong, China; Joey Ho Design Ltd.
337
The Royal China Restaurant
with its roots in London
haute cuisine served in the
high-class historical British
Colonial Hotel in Singapore.
Royal China Restaurant, Singapore; Ministry
of Design MOD
338
How International
do we Work?
Simon Hamilton
In writing this personal view about why to work internation- from a peak to a trough overnight, I have experienced the
ally, I have looked at the various projects that have taken effects of this development in all of the cities I have vis-
me abroad as well as asked the question more broadly. ited. For me the year of the Global Economic Crisis 2008
What is so attractive about working internationally and included visits to Berlin, Paris, Valencia, Toronto, Dublin,
does it have to be as literal as physically leaving ones own New Delhi and Milan. Wherever I visited, there has been
country? As International Director for the British Institute a sense of hope that tomorrow will be better and that if
of Interior Design (BIID) I am fortunate enough to travel we pull together this will be our way out of the difficult
to different countries on a regular basis. I have the task of times. Despite strong competition in the trade there is
meeting and connecting with a very wide variety of dif- also a strong sense of community and shared opinions
ferent design bodies and communities on a global scale. with other designers, in whichever discipline or sector
I visit numerous design shows and events to keep up-to- worldwide. Designers want to be recognised as individu-
date with trends, styles and movements. The aim of this als but realise that to achieve this we need to network and
is to learn about differences but also to share ideas and embrace each other.
experiences. It became clear very quickly that there are
similarities in the way that design is carried out around the On a trip to Berlin some years later to visit a new interior
world, but it is the culture, wealth, education and history design show called Qubique, I soon became aware that
which shape the outcome of the design process. I had seen some of the exhibited products and suppliers
before in London and Milan, but this did not devalue the
A high-rise designed by the same practice in Tokyo will not event. The venue, the disused Tempelhof Airport building,
look and feel the same as a similar project in Paris. Why is was a big draw and also received a lot of pre-show PR. As
that? Beyond the obvious differences in landscape and sur- this was the inaugural year of Qubique, it was reassuring
roundings, does it have more to do with issues of culture? to see such a well-organised event with a balanced display
Ina year that has seen the world economy shift dramatically of established names alongside unknown brands. 343
339
I nte r n atI o n a l p r ac tI c e
340
I nte r n atI o n a l p r ac tI c e
new door
341
I nte r n atI o n a l p r ac tI c e
Design of a German
high-street fashion
chain store
in Hong Kong.
Esprit, Hong Kong, China;
Schwitzke & Partner
342
I nte r n ati o n a l P r ac ti c e
Working in another country gives everyone involved an The most exciting and creatively rewarding project abroad
opportunity for reinvention. You can be a new person for me was the 947 Rooms boutique hotel in Venice, Italy,
abroad. No longer are you someone who plays safe in your which opened for business in 2008. The name is derived
own backyard. By taking a step away from your comfort from the clients fathers restaurant, established in 1947
zone you can give your work a boost. The attraction of being and situated on the floor below the hotel. This commission
in demand by those who do not know you is also very hard came about when I advertised for an interior designer.
to resist. On being contacted by an established practice When I interviewed Matteo Bianchi he mentioned he might
from abroad your ego and self-image are refreshed. Such be able to bring this project to work on. Although he was
an opportunity arose for me in the summer of 2008, when not exactly the candidate I was looking for, I followed my
an African architectural practice contacted me to create the instinct and once we began working together it became
interiors of a new twin-tower development. Although well clear we were going to have a very positive, mutually
versed in building 20-storey residential apartment blocks, beneficial relationship. The combined input of an Italian
they wanted to add something European and modern to designer who had the essential language, both culturally
the look and feel. and emotionally, and of my English perspective was appeal-
ing to the client. We were both very excited to be working
After some caution as the country was notorious for cor- on something we saw as highly glamorous. Theclient was
ruption and international financial scams, I met with the very involved in the design development, which made the
principal in London and decided to follow my gut instincts. process more intimate and personal for such a commercial
After a positive start there was a breakdown in terms of project. Theresults of this 18-month project were a life-long
interpretation of the design brief, mainly due to poor friendship and a beautifully designed hotel, which has a
communication. The principal architect seemed to lose distinctive non-Venetian feel and style while still managing
interest in the work we produced, despite our design team to relate well to its surroundings.
creating highly finished large-format presentation boards.
The alpha male-dominated environment presented an The issue of human rights has also been a subject to be
unfamiliar and imbalanced scenario compared to work- addressed because in some emerging markets such as
ing in London. There, the senior staff were represented China and Russia, there are whole groups of the population
by men and women alike. The experience taught me that who are suffering while all this high-design work goes on
you need to adapt to suit your environment in more ways around them in a bubble they cannot burst. Any growth
than simple attire. Without a shadow of doubt the brief has victims and they must not be forgotten in the rush to
time I spent there was misrepresentative of a longer spell, exploit the new markets. Design should be applied so that
asI was not exposed to the real poverty and huge divide it is of benefit to all. This is where international design work
in society there; being driven in a luxury SUV from hotel really has an important role to play. Good design should be
to office to bar gave me a sense of security but also dread. brought to the masses to enhance life. One such project is
Nowhere in the world have I felt such impending potential underway for victims of the 2011 Tsunami in Japan with the
violence. The mood of the meetings and communications Wallpaper Project led by London-based Japanese interior
changed as time went on, which gave me the feeling that designer, Noriko Sawayama. The initiative provides rolls
this project was not going well for all concerned. of wallpaper to decorate the accommodation of those
whose homes have been destroyed, as a way of giving the
A different example of working abroad came about through occupants some hope for the future. Wallpaper suppliers
a family connection. When my partner and his mother and designers alike support this internationally. 346
343
I nte r n atI o n a l p r ac tI c e
Unmistakably
Japanese!
Arata Restaurant, Tokyo,
Japan; SWeeT co.,ltd.
344
I nte r n atI o n a l p r ac tI c e
345
I nte r n ati o n a l P r ac ti c e
By pooling knowledge, experience and resources I have The current mood is one of numerous independent col-
learnt a great deal, and it has created opportunities that laborations. As people work in more flexible ways and have
would not have existed. I feel it is important to nurture multiple roles, the definition of a designer is changing.
unions with other industries and organisations so we can Byassuming some creative element in design work, it could
share and benefit. Defining links with established brands be said that the role of a designer is not simply to produce
and foundations is a very healthy way to connect. Traveling original ideas but to curate, nurture and coordinate. Inthe
to Japan, Australia, the USA, Europe and India in the past age of social media, communication has become as instant
24 months clearly demonstrated that there is a common as one-to-one conversation, but endowed with a potential
desire to improve quality, understanding and dialogue for a much larger audience participating in what would
in all design disciplines. Among others, the BIID, UKTI, have been limited to a personal exchange in the past.
DBA, CSD, Chicago Architecture Foundation and IIDA Today, designers from different countries and disciplines
are champions of creating discussion and exchange of get together without restrictions by convention or labels.
ideas. As fashion designers recognised a long time ago, Getting together can now be an online experience as tech-
the transition is obvious and workable. Theatre, textiles, nology is so fast and easy that there is no longer a need to
graphics, film, engineering have become even more inter- leave your studio to work across borders. In order to make
related, too. All you need to do is look at the interiors of a relationship work, most find it essential to have at least
the Boeing 787 Dreamliner or Airbus A380. These now one face-to-face meeting. This instills trust and confidence
have intimate, tactile spaces similar to a study or bedroom while giving each person an emotional point of reference.
as well as more public spaces similar to a hotel lobby or As sophisticated as webcams can be, there is nothing like
restaurant with mood lighting. shaking hands in person and sharing the subtle reactions
and interaction in a close environment.
International work comes about in several ways. The sim-
plest, but still successful route can be via a clients initial The power of digital design allows us to enter a new eco-
contact on noticing the designers work in an article or nomic age, with the developing world gearing up to become
visiting an exhibition. A number of means such as design leaders in the next decade. Digital design is the largest
awards, magazine editorials, advertising, exhibiting, net- growth area in the fields of advertising, packaging, product
working and working locally for clients with a global reach design, exhibition design, interiors and graphics. Indicative
support this approach. Another major source of inter- of this trend is the expansion of start-ups and small-scale
national commissions is collaboration. Teaming up with operations that maintain low overhead costs by outsourcing
a practice that has clients in other countries instantly to the developing world. Filmmakers and fashionistas work
increases the potential for work abroad and at the same with graphic designers, ceramicists get together with fine
time provides the opportunity to learn and share expe- artists and product designers. One Dot Zero is an interna-
riences, skills and knowledge. Repositioning your own tional moving image and digital arts organisation which
company within a team can lead to raising the profile for commissions, showcases and promotes innovation across
all, which may be extremely attractive for potential clients. all aspects of moving image, digital and interactive arts.
Founded by Shane Walter, this is one such company that
Key factors are the kudos, expertise, differences in demonstrates on a regular basis, with its Annual Festival,
approach, culture and methods as well as bottom-line how graphics, film, web, animation and art come together
results in the form of realised projects. Track record is to produce unique results that appeal to a global audience.
ultimately the biggest factor, especially in the commercial
design sectors of retail and hospitality. In this form, international design is not in another country
but in your own backyard. Designing for overseas inves-
tors has another and different perspective. Getting local
designers to engage in an international team is a clever way
of making the most of the available talent with reduced
risk, thereby having the kudos of working for an interna-
tional client without having to set up a new branch office.
In a different business model, global design groups such
as WPP and Omnicom, who own several well-established
design practices, focus on fast-growing emerging markets,
which bolsters their fee income as they can afford to spread
their risk in this way.
346
I nte r n ati o n a l P r ac ti c e
347
AFTERWORD AND
ACKNOWLEDGEMENTS
In this book I wanted to reveal the complexity and sophistication of interior by my esteemed editor Andreas Mller in Berlin, the delightfully British
design. It was not our intention to create another coffee table book or a technical translator of the German texts, Julian Reisenberger in Weimar, and the
manual. Instead, the conceptual idea for this internationally oriented publica- magnificent Austrian graphic designer Rein Steger in Barcelona where
tion on interior design is based on two main components: contributions from we had a most enjoyable meeting over glasses of Cava discussing the
a careful selection of professional authors from as far apart as Germany and final layout of the book. Thank you all for your work on the book.
Australia, illustrated with examples of interior design from around the world.
Rather than showing individual projects in the form of case studies, the book Finally, I would like to extend special thanks to the sponsors for making
features compilations of projects that highlight and illustrate specific themes. this book possible in the breadth and depth that we have achieved.
The choice of authors and the selection of projects was entirely my own. The It is my hope that this book does justice to the complexity of the pro-
authors as well as the originators of the works shown are not exclusively interior fession, that it inspires readers to reflect on and explore the subject in
designers but also come from the realms of product design, architecture and greater detail and, last but not least, that it encourages people to work
other design disciplines concerned with the built environment. This transdis- together with professional interior architects and designers.
ciplinarity reflects the global situation of those working in interior design and
the spectrum of their work. I would like to end with the words of Robert Smith, front man and leader
of The Cure, who said (taking the words right out of my mouth): I do
The field of interior design is becoming both ever more complex and ever more a job I really, really love and I kind of have fun with. People think you
specialised. But despite the increasingly varied and less uniform structure of the cant be grown up unless youre moaning about your job.
field, the activities of those practising in it still relate to interiors as a whole.
This can be seen in the range of different approaches and ways of conveying Sylvia Leydecker
the information that the authors take, coupled with their willingness to work Spa / Cologne in January 2013
within the systematic framework of the structure of this book, ranging from
education and design inspiration to international practising in the field. Deciding
which projects to choose to illustrate the topics was a seemingly endless task,
as new, interesting and exciting projects are continually surfacing all over the
world, making the selection even harder. In the end, we elected to set a cut-off
point, which in this case is 2012. The result is a book with two parallel layers,
one of texts, the other of images, that are distinct from one another but at the
same time complement each another.
The authors I chose first and foremost for their professional competence and
also my personal knowledge of them. I would like to extend my heartfelt thanks
to them all, for their contributions but also for staying the course over the
protracted and at times uncertain development of this publication. The same
goes for my editor Andreas Mller, who at all times held the reins firmly but
calmly, and contributed (yet again) with helpful and competent suggestions
to the success of this book. Those who created the projects shown and/or
made images of them provided us with a wealth of material, and they are to be
thanked for making it possible for us to present such a rich and varied selection
of projects to illustrate the topics.
Managing and writing a book project on the side while also working as a prac-
tising interior designer and running an office means you need to be well organ-
ised and to enjoy doing this. Where global processes are concerned, a degree
of openness also helps the exchange of cultures has, after all, as much to offer
in the realm of interior design as it does in other fields. But not only the authors
and projects are international; the book itself is an international coproduction
348
LITERATURE, TRADE FAIRS, Leydecker, Sylvia, Nano Materials in Hudson, Jennifer, Restroom. detail Zeitschrift fr Architektur +
ASSOCIATIONS/ORGANISATIONS Architecture, Interior Architecture and Contemporay Design (London: Baudetail / Review of Architecture
AND OTHER USEFUL LINKS Design (Basel Boston Berlin: Laurence King, 2008). and Construction Details;
Birkhuser, 2008). Germany
Inglis, Kim and Kawana, Masano,
Peters, Sascha, Material Revolution: Asian Bar and Restaurant Design dezeen architecture and
INTERIOR DESIGN
Sustainable and Multi-Purpose Materi- (Hong Kong: Periplus Editions, design magazine; UK
Ballast, David Kent, Interior als for Design and Architecture (Basel 2007).
Domus; Italy
Detailing. Concept to Construction Boston Berlin: Birkhuser, 2011).
Martin Pearson, Sarah, McNamara,
(Hoboken, NJ: John Wiley & Dwell At Home in the Modern
Schmidt, Petra, Tietenberg, Carmel and Van Rossum-Willems,
Sons, 2010). World: Modern Design & Architecture;
Annette and Wollheim, Ralf, Marlous, Night Fever 3. Hospitality
USA
Binggeli, Corky, Building Systems Patterns in Design, Art and Design (Amsterdam: Frame Publis
for Interior Designers, 2nd edition Architecture (Basel Boston Berlin: hers, 2012). Elle Decoration; Germany and UK
(Hoboken, NJ: John Wiley & Birkhuser, 2007).
McNamara, Carmel, Van Ros Frame; Netherlands
Sons, 2009).
sum-Willems, Marlous and Schultz,
Huser Das Magazin fr Architektur
Brooker, Graeme and Weinthal, Sarah, Powershop 3. New Retail
DATABASES ON MATERIALS und Design; Germany
Lois, The Handbook of Interior Design (Amsterdam: Frame Publis
Architecture and Design (London: www.materia.nl hers, 2012). Intramuros International Design
Berg Publishers, 2013). Magazine; France
www.materialarchiv.ch Neufert, Ernst and Peter, Architects
Caan, Shashi, Rethinking Design Data, 4th edition (Hoboken, NJ: livingetc, uk The homes magazine
www.materialconnexion.com
and Interiors (London: Laurence John Wiley & Sons, 2012). for modern living; UK
King, 2011). www.materio.com
Office 21, Office 21 Push for the MD Interior, Design, Architecture
Dohr, Joy Hook and Portillo, Mar www.materio.es Future, Better performance in innova- Germany
garet, Design Thinking for Interiors: tive working environnments, Fraun
www.raumprobe.com Monitor; Poland
Inquiry + Experience + Impact (Hobo hofer Institut fr Arbeitswirtschaft
ken, NJ: John Wiley & Sons, 2011). und Organisation (Cologne: vgs Schner Wohnen Europas grtes
Publisher, 2003). Wohnmagazin; Germany
Hausladen, Gerhard and Tichel DESIGNERS
mann, Karsten, Interiors Construc- Raizman, David, History of Modern Wallpaper* Magazine: design,
tion Manual. Integrated Planning, Adam, Peter, Eileen Gray, Architect/ interiors, architecture, fashion,
Design (Upper Saddle River, NJ:
Finishings and Fitting-Out, Technical Designer a Biography, 2nd revised art; UK
Prentice Hall, 2003).
Services (Munich / Basel Boston edition (London: Thames &
Berlin: DETAIL / Birkhuser, 2010). Hudson, 2000). Van Rossum-Willems, Marlous (Ed.)
and Schultz, Sarah (Ed.), Grand TRADE FAIRS
Kiedaisch, Petra (Ed.), Samesch, Dixon, Tom, The Interior World
Stand 3. Design for Trade Fair Stands
Stphanie (Ed.), Beyrow, of Tom Dixon (London: Conran 100% design, London, UK,
(Amsterdam: Frame Publishers,
Matthias and Daldrop, Norbert W., Octopus, 2008). Singapore, Tokyo, Japan
2011).
Corporate Identity / Corporate Lange, Christian, Maruhn, Jan and www.100percentdesign.com
Design (Ludwigsburg: avedition, Vickers, Graham, 21st Century
Mcel, Otakar, Mies and Modern ARCHITECT@WORK INTERNATIO
2007). Hotel (London: Laurence King,
Living: Interiors, Furniture, Photogra- NAL , various countries
2005).
Meel, Juriaan van, The European phy (Ostfildern: Hatje Cantz, 2008). www.architectatwork.de
Office Office Design and National Regg, Arthur and Spechtenhau Architecture Biennale, Venice, Italy
Context (Rotterdam: 010 Publi ser, Klaus, Le Corbusier. Furniture ENVIRONMENT www.labiennale.org
shers, 2000). and Interiors 19051965 (Zurich:
Parr, Adrian, Hijacking Sustainability BAU, Munich, Germany
Pile, John, A History of Interior Scheidegger & Spies, 2012).
(Cambridge, MA: MIT Press, 2012). www.bau-muenchen.com
Design, 3rd edition (London: Ziesemer, John, Studien zu Gottfried
Laurence King, 2009). Schwartz, Hillel, Making Noise: Clerkenwell Design Week,
Sempers dekorativen Arbeiten am
From Babel to the Big Bang and London, UK
Taylor, Mark (Ed.) and Preston, Auenbau und im Interieur (Weimar:
Beyond (New York: Zone Books, www.clerkenwelldesignweek.com
Julieanna (Ed.), Intimus: Interior VDG Verlag und Datenbank fr
2009).
Design Theory Reader (Hoboken, Geisteswissenschaften, 1999). Design Miami, Miami, USA / Basel,
NJ: Academy Press, 2006). BREEAM Environmental Switzerland
Assessment Method of the Building www.designmiami.com
Taylor, Mark (Ed.), Interior Design APPLICATIONS Research Establishment
Critical and Primary Sources www.breeam.org EuroShop, Dsseldorf, Germany
(London: Berg Publishers, 2013). Azur Corporation, M2 Interior Design www.euroshop.de
vol. 4: Residential, Retail, Dining, Pub- DGNB Deutsche Gesellschaft
Yelavich, Susan, Contemporary fr Nachhaltiges Bauen (German Furniture Fair, Stockholm, Sweden
lic (Tokyo: Azur Corporation, 2012).
World Interiors (London: Phaidon www.stockholmfurniturefair.com
Sustainable Building Council)
Press, 2007). Banks, Abby, Punk House: Interiors
www.dgnb.de Hong Kong Business of Design
in Anarchy: Anarchist Interiors
Zeisel, John, Inquiry by Design: Week, Hong Kong, China
(New York: Abrams Image, 2007). LEED Leadership in Energy and
Environment/Behavior/Neuroscience www.bodw.com
Environmental Design
in Architecture, Interiors, Landscape Bichard, Jo-Anne, Ehrlich, Alma
www.usgbc.org ICFF International Contemporary
and Planning, revised edition and Myerson, Jeremy, New Demo-
Furniture Fair, New York, USA
(New York: W.W. Norton & Com graphics, New Workspace (Surrey: World Green Building Council
www.icff.com
pany, 2006). Gower Publishing, 2010). www.Worldgbc.org
imm cologne The international
Englich, Guido and Remmers, Burk
furnishing show, Cologne, Germany
hard, ed. by Wilkhahn, Planning
MATERIALS MAGAZINES www.imm-cologne.com
guide for conference and communi-
Beylerian, George M., Dent, cation environments (Basel Boston AIT Architecture | Interior | Interieur, Kortrijk, Belgium
Andrew and Quinn, Bradley (Ed.), Berlin: Birkhuser, 2008). Technical Solutions; www.interieur.be
Ultra Materials: How Materials Innova- Germany
Feddersen, Eckhard and Ldtke, ISH International fair for
tion is Changing the World (London:
Insa, Living for the Elderly. A Design bob Monthly international magazine bathroom design, heating and
Thames & Hudson, 2007).
Manual (Basel Boston Berlin: for global design; Korea air-conditioning technology,
Glasner, Barbara, Schmidt, Petra Birkhuser, 2009). renewa ble energies, Frankfurt am
build Das Architekten-Magazin;
and Schndeling, Ursula, Patterns2. Main, Germany
Hupl, Rainer, Marinescu, Sabine Germany
Design, Art and Architecture (Basel www.ish2013.com
and Poesch, Janina, Trade Fair
Boston Berlin: Birkhuser, 2008). Contract; USA
Design Annual (Ludwigsburg, Light and Building, Frankfurt am
Lefteri, Chris, Making it, 2nd edition Germany: avedition Verlag fr d+a: design and architecture; Main, Germany
(London: Laurence King, 2012). Architektur und Design, 2012). Singapore www.light-building.com
349
A p p e n d ix
Maison et Objet, Paris, France ABOUT THE EDITOR AND ticeship as a carpenter, he studied
www.maison-objet.com THE AUTHORS industrial design at the Folkwang
University of the Arts in Essen.
NeoCon, Chicago, USA
SYLVIA LEYDECKER (Dipl.-Ing.) After two years of collaboration
www.neocon.com
is a practising interior architect with Andre Putman in Paris,
Orgatec Modern Office & Facility, and runs the studio 100%interior France, he was head of the Interior
Cologne, Germany in Cologne, Germany. She studied Design and Styling Department
www.orgatec.com interior design at the Wiesbaden at the studio of Matteo Thun
University of Applied Sciences & Partners, Milan, Italy, from
Salone Internazionale del Mobile,
and Trisakti University in Jakarta, 20002008. Since 2008 he runs,
Milan, Italy
Indonesia, graduating from Wies- together with his wife Elisa, the
www.cosmit.it
baden in 1996. Before setting up Studio Catoir in Milan and Paris,
her studio as an interior architect, carrying out projects for interna-
she gained many years experi- tional clients in the field of interior
ASSOCIATIONS/ORGANISATIONS
ence working internationally for design, product design and graph-
Bund Deutscher Innenarchitekten Lufthansa, including extended ics. With a focus on residential
www.bdia.de periods spent abroad in Manches- and hotel projects, Studio Catoir
ter, UK, and Paris, France. provides design services across
Bundesarchitektenkammer
Today her office designs corpo- the full spectrum from objects
www.bak.de
rate interiors with special focus to interiors and facade design,
European Council of Interior on interiors for healthcare envi- aswell as corporate identity.
Architecture ronments as well as the design of
www.ecia.net offices and products. She is volun- JOANNE CYS is Associate Profes-
tary Vice-President of the Union sor of Interior Architecture and
International Federation of Interior
of German Interior Architects/ Dean: Teaching and Learning in
Architects / Designers
Designers (BDIA) and is a delegate the Division of Education, Arts and
www.ifi-world.org
of the International Federation of Social Sciences at the University of
International Interior Interior Architects (IFI). She is also South Australia (UniSA). Shehas
Design Association a member of the German Designer also held positions as acting Dean
www.IIDA.org Club (DDC) and the Hospital and of Research and acting Dean
Healthcare Design Committee of Graduate Studies at UniSA.
world-architects
(AKG) of the Association of Ger- Joanne Cys is a Life Fellow of the
www.world-architects.com
man Architects (BDA). First and Design Institute of Australia and
foremost, she is a passionate inte- was its National President from
rior architect, designer and author 20082010. She is an executive
NICE TO KNOW
of numerous publications. board member (20112013) of the
ACTIVATED SPACE Sylvia Leydecker has established International Federation of Interior
www.activatedspaceblog.com an international reputation as Architects/Designers (IFI) and is
an expert on the application of co-chair of IFIs Global Interiors
Archello The Business
nano-materials in the built envi- Education Open Forum (GIEOF).
Networking Platform for the
ronment and is author of the book Joanne Cys is Australias repre-
Built Environment,
Nano Materials in Architecture, sentative to the Global Design
www.archello.com
Interior Architecture and Design Network (GDN) and the Asia
Architonic, The independent (with forewords by Harold Kroto Pacific Space Designers Alliance
resource for architecture and and Michael Veith), published in (APSDA). She is a founder of the
design 2008 by Birkhuser. Australian Interior Design Awards
www.architonic.com program and has been the jury
convenor of the program since its
BauNetz, Online-
MARK BLASCHITZ, born in 1965 inception in 2004. She has been
Architekturmagazin
in Graz, Austria, co-founded the invited to speak at international
www.baunetz.de
SPLITTERWERK Label for Fine Arts and national conferences, curate
The Cool Hunter in 1988, whose work has won numer- design exhibitions and is regularly
www.thecoolhunter.com ous awards and been featured invited to write for professional
in several renowned exhibitions, design journals. She has published
Design Your Way
including the Biennales in Venice over 50 academic papers in schol-
www.Designyourway.net
and So Paolo and the documenta in arly journals, conference proceed-
DESIGNSPOTTER Kassel. Mark Blaschitz studied archi- ings and chapters in edited books.
www.designspotter.com tecture, philosophy and sociology,
graduating from the Graz University LARS GRAU is a designer and
DETAIL , Das Architekturportal
of Technology in architecture and educator focusing on interactive
www.detail.de
urban design. He has lectured since technologies. He is Professor of
Kinetic Architecture 1989 on architecture, urban design, Media and Communication Design
www.kineticarchitecture.net art and design and was Visiting at the Macromedia University for
Professor for space&designstrat- Media and Communication (MHMK)
Stylepark, Design Culture
egies at the Linz University of Art in Hamburg, Germany, andruns
at Stylepark
and Design in 2009 together with the user experience design agency
www.stylepark.com
heri&salli, before being appointed MOKIK in Berlin. He has worked
Treehugger to Full Professor at the Stuttgart since 1999 on the development
www.treehugger.com State Academy of Art and Design of holistic user experience con-
(ABK). In 2010 he became Director cepts for mobile applications, web
of the Chair of Housing, Fundamen- applications, digital television
tals and Design at the ABK Stuttgart and spatial interaction. His spe-
and was a Visiting Professor at the cial field lies in the integration of
Centro de Estudios Superiores de strategy, design and technology
Diseo de Monterrey (CEDIM) in and research into embedded inter-
Mexico in 2012. In 2012 he became action. He is a regular speaker at
Dean of the Faculty of Architecture events and a jury member of the
at the ABK Stuttgart. annual DDC Design Prize.
350
A p p e n d ix
has established himself as an inte- Designers (IFI). He is a past Pres- the Federal Chamber of German
rior designer with a career span- ident and now honorable member Architects (BAK) as Head of Eco-
ning over 20 years in the design of the Dutch Association of Interior nomic Affairs, becoming Managing
industry.Runninghis own interior Architects (BNI). He has written Director of D.A.V.I.D., the asso-
design consultancy,Simon Hamil- many professional articles and has ciations publishing wing in 2002
ton & Associates in London since been active on many international where he was responsible for the
2002, has provided opportunities panels and juries. Network for Architecture Exchange
to design for a wide variety of (NAX). He lectures widely, chairs
projects across workplace, residen- JOHANNES STUMPF, born in 1963, discussions and contributes to
tial, retail and hospitality sectors in lives and works in Berlin, Germany, numerous publications.
the UK and abroad. In his position as a freelance architect. His office,
as International Director for The Bro Stumpf, specialises in the LILIANE WONG, born in Hong
British Institute of Interior Design management of complex building Kong, China, is Professor and
(BIID), he is an ambassador for the projects, both for new buildings Head of the Department of Interior
best of British design, networking and conservation projects, and Architecture at the Rhode Island
at high level on a global scale. acts as an international consultant School of Design, where she has
for institutions and enterprises on taught since 1998. She earned her
Peter Ippolito studied architec- issues of sustainability in building MA in architecture from the Har-
ture in Stuttgart, Germany and Chi- construction. In 2007, he became vard University Graduate School
cago, USA. During his studies he Vice-Chairman of the Regional of Design and her BA in mathemat-
worked as an assistant to Professor Competition Committee of the Ber- ics from Vassar College. Sheis a
Ben Nicholson in Chicago and lin Chamber of Architects, where registered architect in Massachu-
gained practical experience in the he is instrumental in the ongoing setts, USA, and has practised in
office of Daniel Libeskind in Berlin, development of competition and the Boston area including in her
Germany. In 1999 he co-founded tendering procedures. Since 2008, firm, MWA, where she focuses on
zipherspaceworks, which in 2002 he contributes as part of an inter- the design of libraries. She is a
became the Ippolito Fleitz Group, national development cooperative co-designer of the library furniture
run together with Gunter Fleitz. to the establishment of training system Kore. A long-time volun-
Peter Ippolito was a Visiting Pro- concepts for local energy-use audi- teer at soup kitchens, her teaching
fessor at the Stuttgart Academy tors in countries such as Romania emphasises the importance of
of Art and Design (20012002) and Georgia. In his capacity as an public engagement in architecture
and taught from 20042008 at author, he also writes for a number and design. She is a co-founder
the University of Stuttgart and in of German architecture magazines and co-editor of the Int|AR Journal,
2009 at the Biberach University and journals. which promotes creative and aca-
of Applied Sciences. He has served demic explorations of sustainable
in numerous competition juries DR. MARINA-ELENA WACHS, born environments through exemplary
and is regularly invited to speak in 1966, is a qualified industrial works of reuse.
at conferences. designer, dressmaker and pattern
cutter, and works as a design con-
CHRIS LEFTERI was born in Lon- sultant for companies and archi-
don, UK, and studied industrial tects, and as an author, curator and
design at Central Saint Martins Col- educator at universities and acade-
lege of Art and Design, completing mies of art and design. In her doc-
his MA under Professor Daniel torate (20032007, Brauns chweig
Weil at the Royal College of Art, University of Art), she undertook
London. He is recognised through- interdisciplinary research into the
out the world as an authority on use of new materials in design, art
materials and their application and architecture, culminating in
in design. For over a decade his the publication of her book Material
studio work and publications have Mind (Dr. Kovac Verlag, Hamburg,
been pivotal in changing the way 2008). In 2010 she was appointed
designers and the materials indus- Professor of Theory of Design
try consider materials. In 2001 he at the Niederrhein University of
published the first of eight books Applied Sciences. She has worked
on materials and their application with architects, lighting design-
in design (Materials for Inspira- ers and designers in the field of
tional Design series, RotoVision, lighting and furniture design and I find all books too long.
UK, 20012007), which have been contributes actively to professional Voltaire
translated into six languages. Sub- federations and associations such
sequently his studio, Chris Lefteri as the German Fashion Institute
Design, has worked with bluechip (DMI), the network fashion textile
corporations and major design (nmt), the German Society for
studios across Europe, the USA and Design Theory and Research
Asia, implementing a broad range (DGTF) and the British Design
of strategies for effective materials History Society. She lectures and
integration in the design process. publishes widely, most recently
in the book Nachhaltiges Textiles
KEES SPANJERS is an interior Design / Sustainable Textile Design
architect and architect and lives (Schaff-Verlag, Hamburg, 2013).
and works in Amsterdam and New
York. He is the Director of Zaanen DR. THOMAS WELTER, born in
Spanjers Architects in Amsterdam, 1969, is Managing Director of the
The Netherlands, specialising in Association of German Architects
cultural buildings and public interi- (BDA). He studied economics and
ors, and the recipient of numerous North American studies at the Free
awards, including the Architectural University of Berlin, worked free-
Record Interiors Award. Kees Span- lance for the German Institute for
jers was the President of the Euro- Economic Research (DIW) in Berlin
pean Council of Interior Architects and taught at various educational
(ECIA) and served as co-opted institutions. After completing his
board member of the International doctorate in economic sciences
Federation of Interior Architects/ (Dr. rer. pol.) in 2000, he joined
351
A p p e n d ix
Illustration credits 33 (bottom) Sylvia Leydecker, DDC 59 (top) Schwitzke & Partner 87 Caterina Tiazzoldi / Nuova
and global:local / photos: Erika 59 (centre) Philipp Mainzer Office Ordentra / photos: Sebastiano
11 Nendo / photo: Daici Ano Koch, Shoichi Maruyama for Architecture and Design / Pellion di Persano, Hlne Cany,
12 3deluxe / photo: Emanuel Raab 34 (top and bottom) SAQ Archi- photo: ERCO GmbH Davide Giglio
13 (centre right and bottom) tects / photos: Dave Vandebruel 59 (bottom) ROW Studio / 88 Maurice Mentjens / photos:
CUBIK 3 / photos: Nele Martensen, 34 (centre) SAQ Architects photos: Juan Marcos Castaeda Arjen Schmitz
Hamburg 35 Source Interior Brand Architects ROW Studio 89 b-k-i / brandherm + krumrey
14 (top) 3deluxe / photo: 36 (top left) camp Innenarchitek- 60 (top and centre left) Atelier interior architecture
Sascha Jahnke tur. Markenentwicklung, Munich / Brckner GmbH / photos: Mac Tan 90 (left top) AllesWirdGut / photo:
14 (centre) Artillery MCG, smg photo: Frank Stramann 60 (centre right and bottom) Michael Drr
14 (bottom) Pudelskern / photos: 36 (bottom right) i29 interior Atelier Brckner GmbH 90 (left bottom) AllesWirdGut
Markus Bstieler architects / photo: Jeroen Musch 61 (top) Curiosity / photo: Nacsa 90 (right bottom) Snhetta Oslo
15 UBIK Philippe Starck 37 (top left and bottom) Karim & Partners Inc. 91 Snhetta Oslo / photos:
15 UBIK Philippe Starck Rashid / photos: Iwan Baan for 61 (centre left and centre bottom) diephotodesigner.de
16 (top) Frank Sinnaeve Interieur M.N. Metropolitana di Napoli S.p.A. Concrete Architectural Associates / 92 EDGE Design Institute Ltd.
Architectuur Belgium 37 (top right) Karim Rashid photos: Jeroen Musch 93 EDGE Design Institute Ltd.
(www.franksinnaeve.be) / photos: 38 (top) Kengo Kuma & Associates / 61 (bottom right) JOI-Design GmbH 94 Pablo Zamorano
Karel Moortgat, Belgium photo: Marco Introini 66 Robert Harvey Oshatz / photo: 95 (top and bottom) The Principals
16 (left bottom) Innenarchitektur- 38 (bottom) Lepel & Lepel / photo: Cameron Neilson Drew Seskunas / photos: Matthias
bro Eva Lorey Jens Kirchner 68 (top) Robert Harvey Oshatz Weingrtner
16 (centre bottom) Innenarchitek- 39 (top) Keggenhoff | Partner 68 (centre left and bottom left) 95 (centre) The Principals
turbro Eva Lorey / photos: 39 (centre right) r2 _innenarchitek- Robert Harvey Oshatz / photos: Drew Seskunas
Christine Buhl tur und design / photo: Frank Cameron Neilson 96 Steinert & Bitterling
18 100% interior Sylvia Leydecker / Welke 68 (bottom right) HASSELL / 97 Steinert & Bitterling
photos: Karin Hessmann 39 (bottom) Sinato Chikara Ohno / photo: Earl Carter 99 Takashi Kuribayashi
19 Ab Rogers Design / photo: photo: Takumi Ota 69 (bottom) 100% interior 100 (top) Concrete Architectural
Todd Eberle 41 Gisbert Pppler / photos: Sylvia Leydecker / photos: Associates
21 3XN architects / photos: Adam Wolfgang Stahr Karin Hessmann 100 (bottom) Bachir Nader Inte-
Mrk 42 Jean de Lessard, Designer 71 (top right and bottom) Klab rior Architect (www.bachirnader.
22 (top left and centre left) 100% Cratif / photo: David Giral Architecture Konstantinos com) / photos: Diane Aftimos
interior Sylvia Leydecker / photos: 43 3deluxe / photos: Emanuel Raab Labrinopoulos / photos: 103 (top right) UBIK Philippe
Karin Hessmann 44 (top) Concrete Architectural Panos Kokkinias Starck
22 (centre right, bottom) Vonsung Associates / photos: Ewout Huibers 71 (top left) Klab Architecture 103 (bottom) Nils Vlker
23 Penson 44 (bottom) Tjep. Konstantinos Labrinopoulos 104 Yayoi Kusama
24 (top and centre) null2elf 45 SHH / photos: Gareth Gardner 72 Raumkleid Anke Preywisch 105 (top left) Marco Hemmerling /
Dischek | Eitner GbR 46 (top) tools off.architecture 73 (top left and bottom left) Con- photo: Frank Vinken
24 (centre right) Ministry of 46 (bottom left) ZMIK / photo: crete Architectural Associates / 105 (top centre and top right)
Design MOD Eik Frenzel photos: Frank Pinckers Marco Hemmerling
24 (centre left and bottom) Minis- 46 (bottom right) ZMIK 73 (right) Torafu Architects / 105 (bottom left) Bachir Nader
try of Design MOD / photos: CI&A 47 (top) Universal Design Studio photo: Daici Ano Interior Architect (www.bachirna-
Photography, Edward Hendricks 47 (bottom) Pieter Vanrenterghem 74 Wiel Arets Architects / photo: der.com) / photo: Fares Jammal,
25 (top left) Ministry of Design Interior Architecture / photo: Joo Morgado Art Director Mr. Mohammed Ezo
MOD / photo: CI&A Photography, Tom Vanryckeghem 75 IVANKA Concrete Design 105 (bottom right) Bachir Nader
Edward Hendricks 48 (top) NC Design & Architecture 76 LAVA Laboratory for Interior Architect (www.bachirna-
25 (centre right) spek Design / Limited / photo: Dennis Lo Designs Visionary Architecture der.com)
photo: Andreas Keller, Altdorf 48 (bottom right) Klein Dytham 77 ateliersv Innenarchitektur 106 bluarch / photos: ADO
25 (bottom) Schmidhuber architecture / photo: Kouichi Munich / photos: Christine Schaum 107 (top) GFG Gruppe fr Gestal-
26 (top left) Tjep. / photo: Torimura 78 sculp(IT) / photos: Luc Roymans tung / photos: Tom Kleiner, GFG
Xander Richters, Tjep. 50 (top) Nakayama Architects 79 (top and bottom) TRIAD / photos: Gruppe fr Gestaltung
26 (top right) Tjep. 50 (bottom) Nendo Jian Wen Kang / Zhenglin Wenig 107 (bottom) barmade ag / photos:
26 (centre left) UXUS / photo: 51 (top) Silvia Pappa Innen 79 (centre) TRIAD Markus Muther
Dim Balsem architekten 80 (top right) LTL Architects / 108 Leong Leong
26 (centre right) UXUS 51 (bottom) Achille Salvagni photo: Michael Moran 109 (top and centre left)
26 (bottom) Klein Dytham archi- Architetti / photo: Sean Gleason 80 (left bottom) de-spec Farnaz Studio Fabio Novembre / photos:
tecture / photo: Benny Chan 53 (top right) Ministry of Design Mansuri, Tom Shea / photo: Pasquale Formisano
27 (top) Gisbert Pppler / photos: MOD / photo: CI&A Photography, Frank Oudeman 109 (bottom) Studio Fabio
Wolfgang Stahr Edward Hendricks 80 (left centre) de-spec Novembre
27 (centre right) dan pearlman 53 (bottom left) Simone Micheli Farnaz Mansuri, Tom Shea 111 (top left) NC Design & Archi-
Markenarchitektur GmbH / photo: Architetto 80 (bottom right) LTL Architects / tecture Limited, Laboratory for
diephotodesigner.de 53 (bottom right) Simone Micheli photo: Michael Moran Explorative Architecture & Design
27 (bottom left) Klein Dytham Architetto / photo: Jrgen Eheim 82 LTL Architects / photo: Ltd. / photo: Dennis Lo Designs
architecture / photo: Nacsa & 54 (top) RAISERLOPES / photos: LTL Architects 111 (centre right) J. Mayer H. Archi-
Partners Inc. Frank Kleinbach, Stuttgart 84 (top right and centre right) tects / photo: Constantin Meyer
28 (top) UNStudio / photos: 54 (bottom right) Concrete Edwards Moore / photos: Photographie
Iwan Baan Architectural Associates / photo: Tony Gorsevski 111 (bottom) 3GATTI / photos:
28 (bottom) A1Architects / Ewout Huibers 84 (top left and centre left) Daniele Mattioli
photo: A1Architects MgA. David 55 (top left) Architetto Pierluigi Edwards Moore 112 (top) 100% interior Sylvia Ley-
Matlka Piu / photo: Giorgio Dettori 84 (bottom) Campaign decker / photos: Karin Hessmann
29 100% interior Sylvia Leydecker / 55 (right centre and right bottom) 85 (top right) Adam Kalkin 112 (bottom left) dan pearlman
photos: Karin Hessmann Jennifer Worts / photos: 85 (centre right and bottom) Adam Markenarchitektur GmbH / photo:
30 (top) Jean de Lessard, Designer Ted Yarwood Kalkin / photos: Luca Campigotto Dan Pearlman
Cratif 56 (top) bahlsconcepts 86 (top) Caterina Tiazzoldi 112 (bottom right) Architetto Pier-
30 (bottom) i29 interior architects 56 (bottom) andernach und L .Croce, F. Rizzo, R. Musso, luigi Piu / photos: Giorgio Dettori
31 (top) 100% interior Sylvia Ley- partner A.Primavera, M. Pianosi, M. 112 (centre right) Architetto
decker / photo: Karin Hessmann 57 (top and centre) 100% interior Fassino, Z. Ujhelyi, M. Rosso with Pierluigi Piu
31 (bottom) Uta Cossmann (www. Sylvia Leydecker / photos: Illy Art Direction 113 (top) 100% interior Sylvia Ley-
cossmann-jacobitz.com), Claudia Reinhard Rosendahl 86 (centre and bottom) Caterina decker / photos: Karin Hessmann
de Bruyn (www.two-design.com) / 57 (bottom) Vonsung Tiazzoldi L . Croce, F. Rizzo, 113 (bottom) Architetto Pierluigi
photos: Stefan Schilling 58 (top centre) eins:33 GmbH / R.Musso, A. Primavera, M. Pianosi, Piu / photo: Giorgio Dettori
33 (top and centre right) Karl Huss- photos: Bodo Mertoglu M. Fassino, Z. Ujhelyi, M. Rosso 114 (top left) MARC FORNES /
mann von Karls Werkstatt / photo: 58 (bottom) Klaus Brger with Illy Art Direction / photos: THEVERYMANY / photo:
Manos Meisen, Karl Hussmann Architektur Luca Campigotto, Federico Rizzo Franois Lauginie
352
A p p e n d ix
114 (bottom left) MARC FORNES / 146 (centre left and left bottom) 167 (bottom left) Susanne Kaiser 191 (bottom left) Studio
THEVERYMANY Claudia de Bruyn (www.two-de- 168 (top left) ROW Studio Fabio Novembre
115 ICD/ITKE Stuttgart University sign.com), Uta Cossmann 168 (centre left and bottom left) 192 (top) 100% interior Sylvia
116 ICD/ITKE Stuttgart University (www.cossmann-jacobitz.com) / ROW Studio / photos: Sfocles Leydecker / photo: Karin Hessmann
117 Snarkitecture / photos: Snarki- photos: Nicole Zimmermann Hernndez 192 (bottom) 100% interior
tecture, Peter A. Lee, David Smith 146 (bottom right) Claudia de 168 (top right) Department of Sylvia Leydecker
118 Snarkitecture / photos: Bruyn (www.two-design.com), Uta ARCHITECTURE Co. Ltd. / photo: 192 (bottom) 100% interior
David Smith Cossmann (www.cossmann-jaco- Wison Tungthunya Sylvia Leydecker
121 Nema Workshop / photo: bitz.com) / photo: Bernd Haugrund 168 (bottom right) ROW Studio / 193 Photo: Sylvia Leydecker
David Joseph 147 (top) ruge + gllner photo: Jorge Silva ROW Studio 194 i29 interior architects
122 Studio Catoir / photo: raumconcept 169 (top) Torafu Architects 195 Karim Rashid / photos:
Michael Catoir 147 (bottom) Moho Arquitectos / 169 (centre and bottom) Torafu Lukas Roth
123 (top) Concrete Architectural photo: David Frutos Architects / photos: Daici Ano 196 SWeeT Co., Ltd.
Associates 148 100% interior Sylvia Leydecker / 170 (top) Koichi Takada Architects / 197 (top) Supermachine Studio:
123 (centre) Concrete Architectural photos: Karin Hessmann photos: Sharrin Res Pitupong Chaowakul, Suchart Ouy-
Associates / photos: Ewout Huibers 149 100% interior Sylvia Leydecker / 170 (bottom) design spirits co., ltd. pornchaisakul, Peechaya Mekasu-
123 (bottom) 100% interior Sylvia photos: Karin Hessmann Yuhkichi Kawai / photos: Toshihide vanroj, Santi Sarasuphab / photo:
Leydecker 150 atelier zrich gmbh / photo: Kajiwara Wison Tungthunya
124 Studio Catoir / photo: Martin Guggisberg 171 design spirits co., ltd. Yuh- 197 (centre left) bluarch / photo:
Michael Catoir 151 (top) Raumkleid Anke kichi Kawai / photos: Toshihide ADO, Scott G. Morris Photography
125 Studio Catoir / photos: Preywisch Kajiwara 197 (bottom right) two_Claudia de
Richard Powers 151 (centre and bottom) Studio 173 (top and centre left) sinato Bruyn / photo: HG Esch
127 (top and centre right) Catoir / photos: Michael Catoir Chikara Ohno 198 UXUS / photos: Dim Balsem
Adam Lay Studio 152 Studio Catoir / photo: 173 (centre right and bottom) 199 Sabine Hartl Architektur +
127 (bottom) Anne Batisweiler / Michael Catoir sinato Chikara Ohno / photos: Raumdesign, Switzerland / photo:
photo: Wolfgang Pulfer 153 Studio Catoir / photos: Toshiyuki Yano Ren Rtheli
129 Nendo / photos: Daici Ano Michael Catoir 174 (top left) Hooba Design / 200 (top left) Wobedo Design /
130 JOI-Design GmbH 154 Studio Catoir / photos: photo: Parham Taghiof photo: Anna Diehl
131 (top right) Koichi Takada Michael Catoir 174 (bottom right) Hooba Design 200 (centre and bottom)
Architects / photo: Sharrin Rees 155 Studio Catoir / photos: 175 (top and centre) Archiblau & i29 interior architects
131 (top left) Koichi Takada Michael Catoir Partners / photos: Karel Moortgat 201 (bottom) Mika Barr
Architects 156 Holzer Kobler Architekturen 175 (bottom right) Lepel & Lepel / 202 (top) McBride Charles Ryan
131 (bottom) DRDI regina- Zrich / photo: Jan Bitter photo: Jens Kirchner Architecture & Interior Design /
dahmeningenhoven / photos: 158 (centre right) 100% interior 175 (bottom left) Vonsung photos: John Gollings
Holger Knauf Sylvia Leydecker / photo: Reinhard 177 Concrete Architectural Associ- 202 (bottom right) Architetto Pier-
133 Tina Amann Innenarchitektur / Rosendahl ates / photos: Ewout Huibers luigi Piu / photo: Giorgio Dettori
photo: Florian Holzherr, Munich 158 (bottom) 100% interior Sylvia 178 (top left and right) Graft 202 (bottom left) Joey Ho Design
134 (top left and bottom) Takeshi Leydecker / photo: Karin Hessmann 178 (centre left and right) Graft / Ltd. / photo: Graham Uden,
Hosaka / photos: Koji Fujii, Nacsa 159 (top and bottom right) 100% photos: Ricky Ridecos Ray Lau
& Partners Inc. interior Sylvia Leydecker / photos: 178 (bottom) 100% interior 203 Uzin Utz AG
134 (top right) Takeshi Hosaka Karin Hessmann Sylvia Leydecker / photos: 204 Studio Fabio Novembre /
135 (top left) 100% interior Sylvia 159 (bottom left) 100% interior Karin Hessmann photo: Pasquale Formisano
Leydecker Sylvia Leydecker / photo: 179 100% interior Sylvia Leydecker 205 (top) Photo: Sylvia Leydecker
135 (top right and centre) Friedhelm Krischer 180 design spirits co., ltd. Yuhki- 205 (centre) INM Leibniz Institute
AGROB BUCHTAL / photo: 160 (top right) 100% interior Sylvia chi Kawai / photos: Barry Johnson for New Materials
Jochen Stber Objektfotografie Leydecker / photo: Karin Hessmann 181 (top) design spirits co., ltd. 205 (bottom) Photo:
135 (bottom) Gisbert Pppler / 160 (bottom and left) 100% interior Yuhkichi Kawai Sylvia Leydecker
photo: Hiepler Brunier Sylvia Leydecker / photos: 181 (bottom) Elliat Rich / photos: 206 (top) 100% interior
137 Birgit Hansen Karin Hessmann Steve Strike Sylvia Leydecker
138 (top right) Simone Micheli 160 (centre) 100% interior Sylvia 183 (top) Kengo Kuma & Associates 206 (bottom upper and central
Architetto / photo: Jrgen Eheim Leydecker 183 (bottom) ZMIK / photos: photo) Photo: Sylvia Leydecker
138 (top left and bottom) 162 (top left) innen-architektur. Eik Frenzel & ZMIK 206 (bottom) Photo: Dr. Dietmar
Berschneider + Berschneider Daniela Haeck / photos: Malte 184 (top) NAU Architecture / Stephan, University of Kassel
139 (top left) Simone Micheli Wandel photo: Jan Bitter 207 (top left) 100% interior
Architetto / photo: Jrgen Eheim 162 (top centre) atelier zrich gmbh / 184 (bottom) NAU Architecture Sylvia Leydecker
139 (top centre) Simone Micheli photo: Martin Guggisberg 185 Institut fr Textiltechnik (ITA) 207 (top right) 100% interior
Architetto 162 (top right) A1Architects / der RWTH Aachen University / Sylvia Leydecker
139 (bottom) Simone Micheli photo: A1Architects MgA. David photos: M. Cetin, B. Glau, 207 (bottom) Fred Mafra Architect /
Architetto / photo: Jrgen Eheim Matlka T. Gries photos: Jomar Bragana
140 (top left) atelier zrich gmbh / 162 (bottom) Plan2Plus, Munich 186 Gisela Stromeyer Design / 208 (top, centre and
photo: Martin Guggisberg Ralf Peter Knobloch, Ursula Regina photo: Michael Moran bottom upper row) Photo:
140 (bottom) Anne Batisweiler / Frster 187 Gisela Stromeyer Design Sylvia Leydecker
photos: Wolfgang Pulfer 163 (top left) 5AM / photo: 188 (top right) Boel Andersson / 208 (bottom lower row) sto AG
141 (top) ateliersv Innenarchitektur Thomas De Bruyne photo: Pr Hugosson 209 Photo: Sylvia Leydecker
Munich / photos: Christine Schaum 163 (bottom) i29 interior architects / 188 (bottom) 100% interior Sylvia 210, 211 100% interior Sylvia Ley-
141 (bottom) innen-architektur. photos: Jeroen Musch Leydecker / photos: Karin decker / photos: Karin Hessmann
Daniela Haeck / photos: 164 (top, centre left and bottom left) Hessmann 213 Photo: Sylvia Leydecker (sam-
Malte Wandel Tina Amann Innenarchitektur / 189 (top) Department of ARCHI- ple: Lafarge Beton)
143 (top left and bottom) atelier photos: Florian Holzherr TECTURE Co. Ltd. / photo: Wison 214 (top) Jay Watson design
zrich gmbh / photos: Martin 164 (bottom right) SAQ Architects Tungthunya 214 (bottom) Philips
Guggisberg 165 Architetto Pierluigi Piu / pho- 189 (bottom) Joey Ho Design Ltd. / 215 (top) J. Mayer H. Architects
143 (top right) atelier zrich gmbh tos: Giorgio Dettori photos: Wu Yong Chang 215 (bottom) Photo: Sylvia
144 bro uebele visuelle 166 (top left) Ply Project Kenichi 190 (top) bluarch / photos: Oleg Leydecker
kommunikation Sato / photo: Masatoshi Mori March Photography 216 SAQ Architects / photo:
145 (top) andernach und partner 166 (centre right) Robert Harvey 190 (centre) bluarch Florian Licht
145 (bottom) Supermachine Studio: Oshatz / photo: Cameron Neilson 190 (bottom) LAVA Laboratory 218 (centre and bottom) Re-Make/
Pitupong Chaowakul, Suchart Ouy- 166 (bottom) Tjep. / photos: Yannic for Visionary Architecture / photo: Re-Model Architecture / photos:
pornchaisakul, Peechaya Mekasu- Alidarso, Tjep. Gee-Ly Johanne Fick
vanroj, Santi Sarasuphab / photos: 167 (top and centre right) RDAI 191 (top left) Photo: Heiko Gruber 218 (top) Re-Make/Re-Model
Wison Tungthunya Dominique Hebrard, Sybil Debu, 191 (right top and right bottom) Architecture
146 (top) Lepel & Lepel / photo: artistic director Denis Montel / Studio Fabio Novembre / photos: 219 (top) Monz + Monz | Innenar-
Jens Kirchner photos: Michel Denanc Pasquale Formisano chitektur und Design
353
A p p e n dix
219 (centre and bottom) landau + 249 (top and centre left) 283 Atelier Brckner GmbH / 323 (top right) Ute Zscharnt for
kindelbacher / photos: Christian i29 interior architects photos: Uwe Dettmar David Chipperfield Architects
Hacker, Werner Huthmacher 249 (centre right) 100% interior 284 BIG Bjarke Ingels Group 323 (centre left) SMB / David
221 (top right) Vonsung Sylvia Leydecker / photo: (partners-in-charge: Bjarke Ingels, Chipperfield Architects / photo:
221 (bottom) Achille Salvagni Friedhelm Krischer Andreas Klok Pedersen, Project Ute Zscharnt
Architetti / photo: Massimo Listri 249 (bottom) Penson Leader: Daniel Kidd, Team: Sren 323 (bottom) Christian Schittich,
222 Meyer en Van Schooten 250 Ply Project Kenichi Sato / Martinussen, Kuba Snopek, Daniel Munich
Architecten (MVSA) / photos: photo: Masatoshi Mori Selensky, Chris Brown) 325 Photos: Johannes Stumpf
Jeroen Musch Photography 251 (top) JOI-Design GmbH 285 Torafu Architects / photos: 328 Photos: Sylvia Leydecker
223 (top left) 3deluxe 251 (centre and bottom right) 100% Daici Ano, Daisuke Ohki, Daisuke (image bottom right:
223 (centre right and bottom) interior Sylvia Leydecker / photos: Shimokawa Bltenrausch, Cologne)
Concrete Architectural Associates / Karin Hessmann 286 Torafu Architects / photo: 329 (top) KINZO
photos: Frank Pinckers 251 (bottom left) 100% interior Daici Ano, Daisuke Ohki, Daisuke 329 (bottom) KINZO
224 (top and centre) bluarch / Sylvia Leydecker Shimokawa 330, 331 (top) 100% interior Sylvia
photos: ADO 252 (top and centre left) Ippolito 288 Photo: Sylvia Leydecker Leydecker / photo: Karin Hessmann
224 (bottom) Ippolito Fleitz Group / Fleitz Group / photos: Zooey 289 Dipl.-Ing. Johannes Stumpf 331, 332 100% interior Sylvia Ley-
photos: Zooey Braun Braun 291 Fa. Buderus decker / photo: Karin Hessmann
225 (top and bottom left) Studio 252 (centre right) Ippolito 293 (top and centre) Creative 333 (top) design spirits co., ltd.
DRIFT Fleitz Group Commons Yuhkichi Kawai / photo: Toshihide
225 (bottom right) Studio DRIFT 255 Ippolito Fleitz Group / photos: 293 (bottom), 294, 295, 296, 298, Kajiwara
226 Andy Martin Architects Zooey Braun 301 Dipl.-Ing. Johannes Stumpf 333 (bottom) Autoban / photo:
(www.andymartinarchitects.com) / 256 Photo: Sylvia Leydecker 302 Photo: Sylvia Leydecker, George Mitchell
photo: Vangelis Paterakis 257 ART+COM AG taken in Berlin 335 (top) Klein Dytham architec-
227 Andy Martin Architects 259 (top and centre) E/B Office / 304 100% interior / photos: ture / photos: Ryota Atarashi
(www.andymartinarchitects.com) / photos: Peter Katz Karin Hessmann 335 Fabiane Giestas / photo:
photos: Vangelis Paterakis 259 (bottom) The Principals Drew 306 (top left) JOI-Design GmbH Cac Lima
228 (top) planungsbro i21 Seskunas / photos: Nicolo Bianchi 306 (centre) 100% interior Sylvia 336 GOTWOB
228 (bottom) Vonsung 260 ART+COM AG Leydecker 337 (bottom) Joey Ho Design Ltd. /
229 Atelier Brckner GmbH / 261 (right and bottom left) 100% 306 (bottom) 100% interior photo: Graham Uden, Ray Lau
photos: Marcus Meyer interior Sylvia Leydecker / photos: Sylvia Leydecker / photos: Karin 337 (top) Joey Ho Design Ltd.
230 Plan2Plus, Munich Ralf Peter Karin Hessmann Hessmann 338 Ministry of Design MOD
Knobloch, Ursula Regina Frster 261 (top left and centre left) 100% 307 100% interior Sylvia Leydecker / 340 (top and bottom left)
231 (top) Nall McLaughlin interior Sylvia Leydecker photo: Karin Hessmann RAISERLOPES
Architects 263 SAQ Architects 308 (top left and centre right) Jain 340 (bottom right) RAISER-
231 (bottom) Hollin + Radoske / 265 Torafu Architects / Graphic Malkin Inc. / photos: Ed LaCasse LOPES / photo: Martin Grothmaak,
photo: Ludger Paffrath design: TAKAIYAMA / Sound-Light- Photography Stuttgart
232 (top and centre) Department ing technical: LUFTZUG / photos: 308 (bottom) baustudio 341 RAISERLOPES
of ARCHITECTURE Co. Ltd. / Daici Ano melchert+kastl 342 Schwitzke & Partner
photos: Wison Tungthunya 266 Atelier Brckner GmbH / 309 (top) Photo: Sylvia Leydecker 344 (top left) SWeeT Co., Ltd. /
232 (bottom) Hollin + Radoske / photo: Roland Halbe 309 (bottom) 100% interior photos: Nacsa & Partners, Inc.
photos: Ludger Paffrath 267 Atelier Brckner GmbH / Sylvia Leydecker / photos: Karin 344 (bottom) SWeeT Co., Ltd. /
233 Department of ARCHITEC- photo: Roland Halbe Hessmann photos: Nacsa & Partners, Inc.
TURE Co. Ltd. / photos: Wison 268 (centre left and bottom) Marco 311 100% interior Sylvia Leydecker / 345 SWeeT Co., Ltd. / photos:
Tungthunya Hemmerling, Henri Schweynoch / photo: Karin Hessmann Nacsa & Partners, Inc.
235 (top) SOM photos: Dirk Schelpmeier 312 (top) 100% interior Sylvia 348 style:FREE / photo:
235 (bottom right) 100% interior 268 (top) Marco Hemmerling, Leydecker / photo: Karin Hessmann Kim Bierbrauer
Sylvia Leydecker / photo: Karin Henri Schweynoch / visualisation: 312 (bottom) 100% interior Sylvia
Hessmann David Lemberski Leydecker / photos: Karin
235 (centre left) Bachir Nader 269 (top and centre left) Mainz Hessman, Sylvia Leydecker
Interior Architect (www.bachirna- University of Applied Sciences 313 DESIGNLIGA / photos:
der.com) / photo: Diane Aftimos, 269 (centre right) photo: Sylvia Pascal Gambarte
Art Director Mr. Mohammed Ezo Leydecker 314 (top left) Bachir Nader Inte-
236 Klein Dytham architecture / 270 Carl Stahl Architektur / rior Architect (www.bachirnader.
photos: Nacsa & Partners Inc. photos: Fotodesign Kissner com) / photo: Diane Aftimos,
237 (top and centre) 100% interior 271 (top right) 100% interior Art Director: Mr. Mohammed Ezo
Sylvia Leydecker / photos: Karin Sylvia Leydecker 314 (bottom right), 315 FRANKE
Hessmann 271 (top left, centre and bottom) Architektur I Innenarchitektur
237 (bottom) 100% interior 100% interior Sylvia Leydecker / 316 IVANKA Concrete Design
Sylvia Leydecker photos: Karin Hessmann 317 (centre right) Keiichi Hayashi
238 (top) Meyer en Van Schoo- 273 (top and centre) SPLITTER- Architect
ten Architecten (MVSA) / photo: WERK 317 (top) Keiichi Hayashi Architect /
Jeroen Musch Photography 273 (bottom left) SPLITTERWERK / photos: Yoshiyuki Hirai
238 (bottom) Yi Architects / photo: photo: Paul Ott 317 (bottom) SHH / photo:
Stefan Mller 273 (bottom right images) Alastair Lever
239 Bates Smart Architects / SPLITTERWERK 318 (top) Kieferorthopdische
photo: Peter Hyatt 274 (top) SPLITTERWERK / photos: Fachpraxis, Dr. Dux & Kollegen
240 Nendo / photo: Daici Ano Paul Ott 318 (bottom) UXUS / photos:
243 (top right) i29 interior 274 (bottom) SPLITTERWERK Dim Balsem
architects 275 SPLITTERWERK 319 (top) Royal Pavilion &
243 (bottom) Klein Dytham 276 landau + kindelbacher / photo: Museums (Brighton & Hove)
architecture / photo: PACIA Christian Hacker 319 (bottom right) Photo:
245 (top and centre) Zaha Hadid 277 Concrete Architectural Sylvia Leydecker
Architects / photos: Luke Hayes, Associates / photo: Ewout Huibers 320 Matali Crasset / photos:
Joel Chester Fildes 278 EnOcean Jrme Spriet
245 (bottom) Zaha Hadid 279 (top and bottom) Future- 321 (top) SEITENANSICHT
Architects Shape GmbH Innenarchitektin Martina Lorbach /
246 landau + kindelbacher / 279 (centre) Witex Flooring photos: Marco Lorbach
photos: Werner Huthmacher Products GmbH 321 (bottom) Photo: Sylvia
247 Studio Pacific Architecture 282 (top left) SAQ Architects Leydecker
in association with Warren and 282 (centre) J. Mayer H. Architects 323 (centre right) SPK / David
Mahoney / photos: Patrick 282 (bottom) J. Mayer H. Archi- Chipperfield Architects / photo:
Reynolds tects / photo: Uwe Walter Jrg von Bruchhausen
354
A p p e n dix
INDEX Benamor Duarte, de-spec 80 Hicks, David 63, 65 Laake, Christiane von Nall McLaughlin
Eduardo 97 de Wolfe, Elsie 62 Hindus, D. 287 der 135 Architects 231
Italics refer to Benford, Steve Dietz, P. 287 Hirst, Damien 126 Laboratory for Explor- Niemeyer, Oscar 42
illustrations. 279, 287 Dixon, Tom 172 Hollein, Max 101, 119 ative Architecture & Nordin, Lars 200
Berger, Markus 97 DRDI regina- Hollin + Radoske Design Ltd. 111 Norman, D. 287
Bernhard, Ilka 119 dahmeningenhoven 131 231, 232 landau + kindelbacher Nouvel, Jean 114, 126
INDEX OF DESIGNERS Berschneider + Drexler Guinand Holzer, Jenny 29, 229 219, 246, 276 null2elf Dischek |
AND AUTHORS Berschneider 138 Jauslin Architekten 184 Holzer Kobler LAVA Laboratory for EitnerGbR 24
Best, Marion Hall 63 Dumas, Pierre-Alexis Architekturen Zurich Visionary Architecture Nurmesniemi, Antti 63
100% interior Sylvia Bianchi, Matteo 343 126, 150 156 76, 190 OMA 89
Leydecker 18, 22, 29, 31, BIG Bjarke Ingels E/B Office 259 Hooba Design 174 Le Corbusier 29, 76, Omnova 185
57, 69, 112, 113, 123, 135, Group 284 Eames, Charles and Hoppen, Kelly 11 89, 101, 128, 150, One Dot Zero 346
148, 149, 158, 159, 160, b-k-i / brandherm + Ray 129 Hosaka, Takeshi 134 258, 265 os2 designgroup
178, 179, 188, 192, 206, krumrey interior cart 126 Hussmann, Karl 33 Leduc, N. 287 Oliver Schbbe 72
207, 210, 211, 235, 237, architecture 89 EDGE Design Institute i29 interior architects Lefteri, Chris 157ff., Oshatz, Robert Harvey
249, 251, 261, 271, 304, Blaisse, Petra 63 Ltd. 92, 93 30, 36, 163, 194, 200, 176ff., 198ff. 66, 68, 166
306, 307, 309, 311, 312, Blaschitz, Mark 256ff. Edwards Moore 84 243, 249 Legorreta, Ricardo 126 Pawson, John 17, 126
330, 331 bluarch 106, 190, eins: 33 GmbH 58 Ilhan, Ali 64 Leigh, D. 287 Pelto-Uotila, Tero 201
3deluxe 12-13, 14, 197, 224 Elkins, Frances 63 Illy Art Direction Leong Leong 108 Penner, Barbara 63, 65
43, 223 Boel Andersson 188 Ellel, Carol S. 97 86, 86 Lepel & Lepel 38, 146, Penson 23, 249
3GATTI 111 Bhringer, Hannes Elliat Rich 181 Ippolito Fleitz Group 175 Prez, Patricia 119
3XN architects 21 99, 119 EnOcean 278 224, 252, 254, 255 Lewis, David J. 97 Philipp Mainzer Office
5AM 163 Bogle, Michael 65 Essa, I. 287 Ippolito, Peter 217ff. Lewis, Paul 97 for Architecture and
A1Architects 28, 162 Brand, S. 287 Ferrier, Jacques 114 IVANKA Concrete Leydecker, Sylvia 33, Design 59
Ab Rogers Design 19 Braungart, Michael 42 Flusser, Vilm 258, 272 Design 75, 316 204ff. Philips Lighting 191, 214
Abercrombie, Stanley Brggmann, Nicole FN Digiprint 185 Jain Malkin Inc. 308 Liaigre, Christian 102, Picasso, Pablo 101, 102
62, 65 101, 119 Fortnum & Mason 63 Jay Watson design 214 121, 126 Pieter Vanrenterghem
Achille Salvagni bro uebele visuelle Fortuny, Mariano 128 Worts, Jennifer 55 Lorbach, Martina 321 Interior Architecture
Architetti 51, 221 kommunikation 144 Fowler, K. M. 97 Jir icn, Eva 63 London Central School 47
Adam Kalkin 85 Burrows, Victoria Fra Angelico 120 J. Mayer H. Architects of Art and Design 63 Pile, John 65
Adam Lay Studio 127 Kate 97 Franck, Karen 64 111, 215, 282 Loos, Adolf 29, 40, 53, Pinto, Alberto 126
Adjaye, David 89 Buse, Jacob 119 Frank, Jean-Michel 126 Joey Ho Design Ltd. 258, 272 Plan2Plus 162, 230
Adler, David 63 Caan, Shashi 65 Frank Sinnaeve Interior 189, 202, 337 Lorey, Eva 16 Planck, Max 17
AllesWirdGut 90 Campaign, Claire Architect - Belgium 16 JOI-Design 61, 130, Louis Vuitton 150 planungsbro i21 228
andernach und partner Curtice Publicists 84 FRANKE Architektur I 251, 306 LTL Architects 80, Pppler, Gisbert 27,
56, 145 camp Innenarchitektur. Innenarchitektur 315 JTCPL Design 331 80, 82 41, 135
Ando, Tadao 17, 150 Markenentwicklung 36 Fred Mafra Architect Juncker, Justus 101 LWC Inc. 308 Poldma, Tiuu 65
Andy Martin Architects Carassus, Jean 97 207 Justi, Ludwig 321, 324 Mainwaring, S. 287 Powell, Brad 65
226, 227 Carl Stahl Architektur Future-Shape GmbH Kahn, Louis I. 220 Manku, Jouin 128 Promemoria 121
Arad, Ron 172 270 279 Kaiser, Susanne 167 MARC FORNES / Prouv, Jean 126
Archiblau & Partners Castiglioni, Achille 102 Future Systems 128 Kaplan, David 97 THEVERYMANY 114 Pudelskern 14
175 Castiglioni, Pier Garbe Group 57 Kapoor, Anish 120 Margiela, Martin 110 Putman, Andre 11, 63,
Architetto Pierluigi Piu Giacomo 102 Garcia, Jacques 120 Karls Werkstatt 33 Mart, Nacho 94 126, 128, 133
55, 113, 165, 202 Caterina Tiazzoldi Gaver, B. 287 Kate Spade 83 Martin, A. 287 QuietRock 182
Arets, Wiel 74 86, 86 Gellersen, H. W. 287 Kawakubo, Rei 20 Martin, Caren 64, 65 Quinn, Anne Kyyr 182
Aristotle 10, 17 Caterina Tiazzoldi / GFG Gruppe fr Keggenhoff | Part- Massey, Anne 65 Quinn, Catriona 65
ART+COM AG 257, 260 Nuova Ordentra 87, 87 Gestaltung 107 ner 39 Matali Crasset 320 r2 _innenarchitektur
Artillery Architecture Catoir, Michael 120ff. Giestas, Fabiane 335 Keiichi Hayashi Mathur, Sanjay 208 und design 39
& Interior Design 14 Chalayan, Hussein 110 Gigli, John 65 Architect 317 Maughan, Syrie 63 RAISERLOPES
Asahikawa Furniture Chipperfield, David GOTWOB 336 Kelly Hoppen 11 Maurice Mentjens 88 Architekten // Innenar-
Cooperative 33 322, 323, 324 Graft 178 Kelly, Kevin 262, 272 McBride Charles Ryan chitekten 54, 340, 341
Amann, Tina 133, 164 Cohen, Preston Scott Grau, Lars 276ff. Kelly, Richard 220 Architecture & Interior Rashid, Karim 11, 37,
Atelier Brckner GmbH 97 Gray, Eileen 11, 63, Kengo Kuma & Design 202 195
60, 229, 266, 267, 283 Comit Colbert 102 65, 90 Associates 38, 183 McClard, A. 287 Rauch, E. M. 97
ateliersv Innenar- Concrete 11 Grcic, Konstantin 215 Kim, Joo Yun 63, 65 McMillen, Eleanor 63 Raumkleid Anke
chitektur 77, 141 Concrete Architectural Gropius, Walter 17 King Sturge 97 Meijer, Mieke 110 Preywisch 72
atelier Zrich gmbh Associates 44, 54, Gruppo Frati 185 KINZO 329 Meyer en Van Schooten RDAI 167
140, 143, 150, 162 61, 73, 100, 123, 177, Guerin, Denise 64, 65 Kirkham, Pat 65 Architecten (MVSA) Re-Make/Re-Model
Attiwill, Suzie 63, 223, 277 Guthke, Jrgen 119 Klab Architecture 222, 238 Architecture 218
64, 65 Constant, Caroline 65 Hadid, Zaha 63, 245 Konstantinos Labrino- Mies van der Rohe, Rice, Charles 64, 65
Autoban 333 Cornelius, Peter von Hagstrm, A. E. 287 poulos 71 Ludwig 120, 128, 220, Richmond Interna-
Bachir Nader Interior 324 Haeck, Daniela 141, 162 Klaus Brger Architek- 258, 272 tional 347
Architect 100, 105, Cossmann-Jacobitz Hamilton, Simon 339ff. tur 58 Ministry of Design Rodden, Tom 279, 287
235, 314 Architekten 31, 146 Hanfstaengl, Eberhard Klein Dytham archi- MOD 24, 25, 53, 338 Rogers, W. 287
Baggerman, Michelle CUBIK 3 13 324 tecture 26, 27, 48, 236, Mitterand, Franois 114 Rtzer, Florian
185 Curiosity 61 Hansen, Birgit 137 243, 335 Moho Arquitectos 147 262, 272
bahlsconcepts 56 Dalziel & Pow 347 Harrap, Julian 322 Klingenberg, Ellen Monz + Monz | Innen- Rousseau, Jean-
Bahamn, Alejandro dan pearlman Marken- Hartl, Sabine 199 64, 65 architektur und Design Jacques 99
119 architektur 27, 112 HASSELL 68 Knoll Furniture Com- 219 ROW Studio 59, 168
Bar, Mika 201 David Chipperfield Havenhand, Lucinda pany 49 Moroso 126 ruge + gllner raum-
barmade ag 107 Architects 323 64, 65 Koichi Takada Archi- Mynatt, E. D. 287 concept 147
Barragn, Luis 126 DDC 33 Heatherwick, Thomas tects 131, 170 Naghara, Minoru 33 Ruskin, John 310
Bates Smart Architects de Lessard, Jean, 63 Kollision Aarhus 284 Nakayama Architects Sander, Jill 126
239 Designer Cratif 30, 42 Hein, Jeppe 102 Krippendorff, Klaus 50 Sander, Jochen 119
Batisweiler, Anne 127, Department of ARCHI- Hemmerling, Marco 277 Nash, John 319 SAQ Architects 34, 95,
140 TECTURE Co. Ltd. 168, 105, 268 Krull, H. 287 NAU Architecture 184 164, 216, 263, 282
Bauhaus 17, 40, 49 189, 232, 233 Hermann, Heinrich 97 Kuma, Kengo 183 NC Design & Architec- Sato, Kenichi 166, 250
baustudio Derrida, Jacques 110 Herms 126, 150 Kurkela, Teemu 102 ture Limited 48, 111 Sauerbruch Hutton
melchert+kastl 308 DESIGNLIGA 313 hg merz architekten Kuribayashi, Takashi Nema Workshop 121 126
Bayley, O. 287 design spirits co., ltd. museumsgestalter 99 Nendo 11, 11, 50, 129, Saunders, Thomas 97
Beigl, M. 287 Yuhkichi Kawai 170, 171, 322, 323 Kuromata, Shiro 11 240 Sawayama, Noriko 343
Bek, Jacob 94 180, 181, 333 Hicks, Ashley 65 Kusama, Yayoi 104 Newson, Mark 63 Schendler, Auden 97
355
A p p e n dix
Schinkel, Karl Friedrich Tjep. 26, 44, 166 INDEX OF PROJECTS Beijing Noodle No. 9, Museum of History, Emirates Lounge,
310 tools off.architecture Las Vegas, Nevada, Hanover, Germany 101 Mumbai, India 331
Schmidhuber + Partner 46 One Central Park East, USA 180, 181 Clayton Utz Head Emotion set design
25, 284 Torafu Architects 73, Sydney, Australia 131 Belgian Quarter, Office, Sydney, Austra- for canteens, Deut-
Schrager, Ian 49, 133 169, 265, 285 One Hundred and Cologne, Germany 309 lia 239 sche Steinzeug AG,
Schtte-Lihotzky, Tosun, Nurgl 208 Eight, Berlin, Germany Benjamin and Marian Clean Car, Berlin, Ger- Alfter-Witterschlick,
Margarete 272 Tschudi, Hugo von 324 103 Schuster Heart Hos- many 27 Germany 135
Schweynoch, Henri 268 Tschumi, Bernard 110 208 Duecento Otto pital, Kettering, Ohio, CocoonClub, Frankfurt Espacio C Mixcoac,
Schwitzke & Partner Tsurumaki, Mark 97 Restaurant, Hong USA 308 am Main, Germany Mexico City, Mexico 59
59, 342 Turpin, John 63, 64, 65 Kong, China 333 Black Box Revelation, 12-13, 43, 223 Esprit, Hong Kong,
sculp(IT) 78, 78 TRIAD 79 100% interior confer- Copenhagen, Denmark Collectors Loft, New China 342
Seneca, Lucius two_Claudia de Bruyn ence room, Cologne, 218 York City, New York, Estacin Glocal
Annaeus 99 + Achim Nagel 31, 146, Germany 210, 211 Black Treefrog, Bad USA 28 Design, Mexico City,
Severen, Maarten van 197 947 Rooms boutique Waltersdorf, Austria Comme Des Garons, Mexico 168
102 UBIK Philippe Starck hotel, Venice, Italy 343 273 Paris, France 19 EWK Spandau Medical
SHH Architects | Inte- 15, 103 Aareon AG office, Blaue Fabrik office Villa from 1900, con- Centre, Berlin,
rior Designers Spence Udall, Randy 97 Mainz, Germany 56 interior, Thalwil, version and renovation, Germany 39
Harris Hogan 45, 317 United Designers 347 Adidas Laces, wayfind Switzerland 77 Dren, Germany 315 Ex Oriente Isaak und
Silvia Pappa Innenar- Universal Design Stu- ing system, Herzogen Bltezeit Seating, Corpform, Weil am der weie Elefant,
chitektin 51 dio 47 aurach, Germany 144 Cologne, Germany 33 Rhein, Germany 105 Exhibition, Aachen,
Simone Micheli UNStudio 28 Alessandro Bergamo BMW Museum, Munich, Despresso, New York Germany 311
Architetto 53, 139 UXUS 26, 198, 318 House, Oderzo, Italy 53 Germany 229, 252 City, New York, USA 121 Expandable Surface
sinato Chikara Ohno Uzin Utz AG 203 Alte Nationalgalerie, BOOLEAN Tokyo Uni- Daikanyama T-Site, Pavilion, spoga+gafa
39, 173 Versace, Gianni 150 Berlin, Germany 321, versity Tetsumon Caf, Tokyo, Japan 27 2011 Cologne, Germany
Sitbon, Martine 110 Viollet-le-Duc, Eugne 322, 324, 325 Tokyo, Japan 169 DarHi, Nefta, Tunisia 94, 94
Smith, Paul 20 Emmanuel 310 American Apparel, BotoxLamp, Berlin, 320 F&S solar concept,
Smith, Robert 42 Vlker, Nils 103 Berlin, Germany 59 Germany 95, 95 DASH Dogs, New York Euskirchen, Germany
Snarkitecture 117, 118 Vonsung 22, 57, 175, Anna, Basel, Switzer- BOTOXUTOPIA, Milan, City, New York, USA 148, 149
Snhetta Oslo 91 221, 228 land 46 Italy 259 80, 80, 81 Fabbrica Restaurant,
SOM 235 Wachs, Marina-Elena ANZ Centre, Mel- Boxel, Detmold, Ger- Day care centre, Bergen, Netherlands
Somers, P. 287 98 ff., 119 bourne, Australia 68 many 268 Grevesmhlen, Ger- 166
Sottsass, Ettore 121 Wagner, Wolf Udo 33 Apartment at Braai, Beirut, Lebanon many 308 Face To Face, Singa-
Source Interior Brand Wanders, Marcel Maybachu fer, Berlin, 105 DenkmalBad, Cologne, pore 24
Architects 35 11, 126 Germany 41 Brownless Biomedical Germany 321 Flex, Sado, Japan 250
Sparke, Penny 63, 65 Wang, David 65 Apartment conver- Library, Melbourne, DER SPIEGEL Canteen, Flylight, Moscow,
spek Design 25 Warren and Mahoney sion and renovation, Australia 202 Hamburg, Germany Russia 225
SPLITTERWERK 272, 247 Frankfurt am Main, Buck Rogers Club, 224, 252, 253 Folding A-part, Israel
273, 274, 275 Weiser, Mark 277, 287 Germany 16 Frstenfeldbruck, Dig, New York City, 201
Starck, Philippe 11, 15, Welter, Thomas 330ff. Apartment, Milan, Italy Germany 36 New York, USA 117, 118 Fondation Cartier,
49, 63, 103, 110, 120, Wheeler, Candice 63 152, 153, 154, 155 Bungalow from 1960, DKV Bremen Resi- Paris, France 114
128, 133 Wiedemann, Julius 119 Apartment, Paris, Geluwe, Wervik, dence for the Elderly French Pavilion at the
Starrs, Melanie 97 Wobedo Design 200 France 122, 124, 125, 151 Belgium 16 on the Contrescarpe, Shanghai Expo in 2010,
Steinert & Bitterling Wong, Liliane 67ff., 97 Arata, Tokyo, Japan Camlia Restaurant, Bremen, Germany 31 China 114
96, 97 Wood, Ruby Ross 63 344 Mandarin Oriental DocMorris pharmacy, FreudenHaus Optik
Stephan, Dietmar 206 Woods Bagot 347 Arnsdorf Opticks, Mel- Saint-Honor, Paris, Limburg, Germany 58 Opticians, Munich,
Stern, Elsbeth 119 Wright, Frank Lloyd bourne, Australia 84 France 128 Domestic Transformer, Germany 46
Stone, Andrew 64, 65 258, 272 Arthouse Caf, Hang- Candido Restaurant, Hong Kong, China 92 Friggebod Holiday
Stvesand Architek- Yi Architects 238 zhou, China 189 Istanbul, Turkey 336 Domino House 76 Home, Gteborg,
tur 318 Yoshioka, Tokujin 158 Artshop 09, Basel, Canteen, London, Dots Obsession 104 Sweden 89
Strack, Johann Hein- Zamorano, Pablo 94 Switzerland 183 United Kingdom 47 Douglas, Dsseldorf, Future Hotel Show-
rich 324 Zeita, Oscar 172 Atomic Spa Suisse, Carlos Ortega House, Germany 59 case, Duisburg,
Stromeyer, Gisela Zhang, Judy 110 Milan, Italy 139 Mexico City, Mexico Dr. Dux & Kollegen Germany 190
186, 187 ZMIK Spacial Design Audi Exclusive Lounge 168 Orthodontists FutureCare at CeBit,
Studio Catoir 122, 124, 46, 183 at the Geneva Auto Casa Micheli, Florence, Practice, Detmold, Bitkom with Deutsche
125, 151, 152, 153, 154, 155 Zumthor, Peter 98, 119 Salon 2011, Geneva, Italy 139 Germany 318 Messe Hannover 2010,
Studio DRIFT, Philoso- Switzerland 25 Casalgrande Padana, DURAS Nagashima, Germany 261
phy of Design 225 Audi Urban Future Conversion of an old Kuwana, Japan 39 Gaggenau Showroom,
Studio Fabio Novem- Award, Berlin, Ger- farmhouse, Casal- Dynamic Performance Amsterdam, Nether-
bre 191, 204 many 284 grande, Reggio Emilia, of Nature, Salt Lake lands 58
Studio Pacific Archi- Aura Light and Sound Italy 38 City, Utah, USA 259 Gallery apartment
tecture 247 Suites Nightclub, ccflex Stardust E.1027 90 with pool, Trudering,
Stler, Friedrich New York City, New 210, 211 Eames Plastic Side Germany 127
August 324 York, USA 190 Chan pan-Asian Chair 120 Garamond Restaurant,
Stumpf, Johannes Baby Caf, Tokyo, Restaurant and Bar in Earthen Seat 119 Berlin, Germany 135
288ff., 304ff., 326ff. Japan 50 The Met Hotel, Thessa- EastWest Studios, Los Garden of Things,
Sullivan, Louis Henri 52 Baccarat, Paris, France loniki, Greece 226, 227 Angeles, California, Museum of Arts and
Supermachine Studio 103 Chteau de Pierre- USA 15 Crafts, Hamburg,
145, 197 Bang, Milan, Italy 204 fonds, France 310 Edge Restaurant in Germany 112
SWeeT Co., Ltd. 196, Banheiro Publico Mas- Chocoladium, Special Hilton Pattaya, Garment Garden,
344, 345 culino, Vitria, Esprito Exhibition in the Uni- Thailand 168, 233 Messe Frankfurt,
Takizawa Veneer Co. Santo, Brazil 335 versum Science Center, Eine Kche / Keine Germany 111
166, 250 Bar le Lounge, Bremen, Germany 107 Kche, kitchenette in German Stock
Takumi Kohgei Co. Sainte-Julie, Quebec, Cienna Restaurant, a cupboard in a loft Exchange, Frankfurt
166, 250 Canada 42 New York City, New apartment, Leipzig, am Main, Germany 283
The Principals Drew Barbican Food Hall, York, USA 224 Germany 96, 97 GoltsteinForum
Seskunas 95, 259 London, United King- CitizenM Hotel, Elemnt Restaurant, Cologne, Germany, 57
Thibault-Pommerantz, dom 45 Glasgow, United King- Langenthal, Germany Google Engineering
Carolle 119 Barcelona Chair 120 dom 73 107 Headquarters, Lon-
Thomas, Abraham 97 BBASS installation, City Library on the Elie Tahari Fashion don, United Kingdom
Thompson, Jo Ann Ghent, Belgium 216 Mailnder Platz, Stutt- Showroom, New York 23, 249
Asher 64, 65 Beach House, Dutch gart, Germany 238 City, New York, USA Google offices, Dssel-
Tiazzoldi, Caterina 97 coast 34 Classic Lounge in the 186, 187 dorf, Germany 146
356
A p p e n dix
Green Treefrog, St. Il Fiore di Novembre, Frankfurt am Main, Nokia Office, Silicon Post Digital Philips Sana Kliniken AG
Josef, Austria 274 Exhibition, Triennale Germany, and Asa- Valley, California, Lighting, Milan, Italy Headquarters, Isman-
Grensvaringen, Design Museum, Milan, hikawa, Japan 33 USA 90 191 ing, Germany 22, 330,
Exhibition, Roermond, Italy 109 Louis Ghost Chair Noma Restaurant, Post Panic, Amster- 331
Netherlands 312 Illoiha Omotesando 120 Copenhagen, Den- dam, Netherlands 88 Sasao House, Tokyo,
GREY Worldwide Fitness Gym, Tokyo, Lufthansa Trademark mark 21 Practice for Paediatric Japan 48
Advertising Agency, Japan 11 Academy: Room for Nomads Restaurant, Medicine and TCM, Drs. Schiphol Airport
Hamburg, Germany 146 Illy Shop, Milan, Italy Innovations, Seeheim, Amsterdam, Nether- Schumann-Winckler- Lounge 3 / House of
Guggenheim Museum, 86, 86 Germany 27 lands 100 Schumann, Cologne, Tulips, Amsterdam,
New York City, New INDULGI, Kyoto, Japan Lutherkirche altar nonLin/Lin Pavillon Germany 31,160, 348 Netherlands 26
York, USA 229 129 space, Dsseldorf, FRAC Centre, Orlans, Precious Waste 185 Schlter Graf &
Gynaecological prac- INI ANI Coffee Shop, Germany 38, 175 France 114 Private Patients Partner, Dortmund,
tice, Maria-Hilf Hospi- New York City, New M Coffee, Teheran, Norton Rose, Frankfurt Hospital Room of Germany 159, 160
tal, Brilon, Germany; York, USA 80, 80, 81 Iran 174 am Main, Germany the Future, Medical School 03, Amsterdam,
178, 307 Interactive Klsch, Magic Store, Tokyo, 159, 249 Lounge, Berlin, Ger- Netherlands 36, 163
Hacienda del Cielo, Cologne, Germany 269 Japan 73 Norwegian Wild Rein- many 123 SchulStadtbcherei,
Tokyo, Japan 344 International Shipping Maison Bordeaux, deer Centre Pavilion, Private Practice for Arnsberg, Germany 39
Haus Untersberg Youth Company, London, France 89 Hjerkinn, Dovre, Naturopathy, Dr. Sci-Fi Trade Fair
Hostel, Berchtesgaden, United Kingdom 317 Maria-Hilf Hospital, Norway 90, 91 Radecki, Cologne, Stand, Cornicon,
Germany 76 J. S. Bach Music Hall, Brilon, Germany Notre Dame, Paris, Germany 235 San Diego, California,
Heidi House, Tokyo, Manchester, United 112, 113 France 310 Private residence, USA 178
Japan 335 Kingdom 245 Marilyn Monroe, sur- Numptia Super Yacht Cologne, Germany Seagram Building, New
Heineken Lounge, Jaga Experience Lab, face pattern 213 51, 221 141, 162 York City, New York,
Newark Liberty Inter- Diepenbeek, Belgium Matrix Technology AG Office 00, Amsterdam, Private residence, USA 220
national Airport, New 263 Headquarters, Munich, Netherlands 30 Holzkirchen, Germany Selfridges Department
Jersey, USA 26 Josephinum Private Germany 162, 230 Office 03, Amsterdam, 140 Store, Birmingham,
Herms Rive Gauche, Clinic, Munich, MAYGREEN Fashion Netherlands 249 Private residence, United Kingdom 128
Paris, France 167 Germany 309 Store, Hamburg, Ger- Office 04, Amsterdam, Toronto, Canada SensFloor 279
Hilton Frankfurt Air- Juliet Supper Club, many 329 Netherlands 200 55 Sepia Lounge and
port Hotel, Germany New York City, New MAZZO, Amsterdam, OLED Installation Private residence, Restaurant, Beirut,
61, 251 York, USA 106 Netherlands 44 by Philips Lighting, Ypern, Belgium 47 Lebanon 314
Hilton Pattaya, Thai- Kaldewei Pioneers, McCaf, Rue du Langenthal, Switzer- Push Button House Shang Xia, Shanghai,
land 168, 189, 232, 233 A Bathtub for Albert Renard, Paris, France land 191 Illy Caff, Venice Bien- China 183
HOEY Loft, Herent, Einstein, Cologne, 126 OLED Lighting 214 nale 2007, Italy 85, 85 Shine Fashion Walk,
Henkel-site, Belgium 175 Germany 179 Mercedes Benz Cus- OLIVOMARE Restau- Pusteblume-Zentrum, Hong Kong, China 111
Hgskolan i Halmstad, Kanzlei Josiger & tomer Centre, Rastatt, rant, London, United Cologne, Germany 18 Shine Leighton Center,
Krhuset, Halmstad, Collegen, Saalfeld, Germany 25 Kingdom 55, 113, Recycling Artistic Hong Kong, China 48
Sweden 200 Germany 312 Metronapoli Univer- 165, 202 room concept for a Shiseido the Ginza,
Home 06, Amsterdam, Kimbell Art Museum, sit Station, Naples, Omonia Bakery, New hotel, Cologne, Ger- Tokyo, Japan 236
Netherlands 243 Fort Worth, Texas, Italy 37 York City, New York, many 72 SHOEBALOO Shoe
Home 07, Amsterdam, USA 220 Mezzadro, seating USA 197 Renaissance Hotel at Shop, Amsterdam,
Netherlands 194 Kinderkunsthaus, object 102 Oostduinkerke House, London Heathrow, Netherlands 222
HOSI Linz, Linz, Munich, Germany 141 Minamo, Tokyo, Japan Koksijde, Belgium 164 United Kingdom 132 SHOEBALOO Shoe
Austria 14 Kinetic sculpture for 265 Open Lounge Residence for the Shop, Maastricht,
Hospice, Stiftung BMW Museum, Munich, MIXX Bar & Lounge, Raiffeisenbank, Zurich, Elderly Les Jardins Netherlands 238
Marienhospital, Germany 257 Tokyo, Japan 61 Switzerland 184 dAlysea, Roeser, Lux- S House, Pegnitz,
Euskirchen, Germany Kitanokaze, Japan 50 mizu Hair Salon, Bos- Orto Living Cover- embourg 130, 306 Germany 138
237, 304, 306 KPMG Corporate Box, ton, Massachusetts, ing 75 RIBA Foldaway Book- Siemens HR Depart-
Hoto Fudo Restaurant, Cricket Ground, Mel- USA 231 OSBox, Kortrijk, shop, London, United ment, Karlsruhe,
Fujikawaguchiko, bourne, Australia 14 Mobile Fold-Out Home Belgium 163 Kingdom 83, 84 Germany 145
Japan 134 KWS Kraftverkehr Office 92 Ostseeblick Beach Rigoletto Spice Siemens Trade Fair
Htel Costes, Paris, Wupper-Sieg Cus- Monterosa Department Hotel, Meerness-Spa, Market, Tokyo, Japan Stand for the Inter-
France 120, 150 tomer Centre, Leverku- Store, Zurich, Switzer- Seebad Heringsdorf, 345 kama 2007, Hannover
Hotel Puerta Amrica, sen, Germany 188 land 140, 143, 150 Germany 167 ROC Health & Care, Messe, Germany 56
Madrid, Spain 133 Kyoto Silk, Kyoto, Moritzburg, Halle, Palace of International Apeldoorn, Nether- Single-family house,
Hotel berfluss, Japan 317 Germany 310 Forums Uzbekistan, lands 44 Turgi, Switzerland 199
Bremen, Germany 61 La Finca, Mallorca, Moss House, Tokyo, lobby, Tashkent, Rolls, Tokyo, Japan 173 Smart Home, Flexible
Hotel Zenden, Maas- Spain 318 Japan 240 Uzbekistan 254, 255 Room 3120 133 Network 278
tricht, Netherlands 74 Lanserhof, Lans near MS Artania 13 Palazzo Fortuny, Ven- Rounded Loft, Prague, Smart Treefrog, Ham-
Hudson Hotel, New Innsbruck, Austria 131 Multipticas Omega ice, Italy 128 Czech Republic 28, 162 burg, Germany 272
York City, New York, Le Corbusier Chaise Opticians, Murcia, Panasonic Convention, Roxy / Josefine Pista SOLution 119
USA 132, 133 Longue 29 Spain 147 Munich, Germany 60 Principal, Belo Hori- Sony Store, Los Ange-
Hugo Boss, Madrid, Le Corbusier LC2 arm- Murphy bed 90 Paracelsus Hospital, zonte, Brazil 207 les, California, USA
Spain 340 chair 150 Myto chair for Plank Osnabrck, Germany Royal China Restau- 26
Hugo Boss, Shanghai, Leila Restaurant, in collaboration with 147 rant, Singapore 338 Spaghetti Tales
China 340, 341 Dubai, United Arab BASF 215 Penthouse B27, Frank- Royal Pavilion, Brigh- Restaurant, Hong
ICADE Premier Haus, Emirates 100 Nagakin Capsule furt am Main, Germany ton, United Kingdom Kong, China 202, 337
Munich, Germany 219, Light-Carbon, Aachen, Tower, Tokyo, Japan 231, 232 319 Spectrum 158
246, 276 Germany 185 77, 78, 81 Performative light- Saatchi & Saatchi Spice Market, London,
ICD/ITKE Research Light Loom, Milan, Narrowest Apartment space installation, Thailand, Bangkok, United Kingdom
Pavilion 2011, Stutt- Italy 285 in Antwerp, Antwerp, AIT-ArchitekturSalon Thailand 145, 197 123
gart, Germany 115, 116 Lighting Laboratory, Belgium 78 Munich, Germany 274 Salon Nemetz, Munich, Spice Market, New
IDEA Store in White Rdesheim (Nahe), Nautilus Project, Sin- Performative light- Germany 313 York City, New York,
chapel, London, United Germany 228 gapore 171 space installation, Salperton IV 127 USA 150
Kingdom 89 Linger a Little Longer Neues Museum, Ber- Venice Architecture Samas Office Furniture St. Peters Cathedral,
Ideenbotschaft Grey table 214 lin, Germany 321, 322, Biennale 2008, Italy Headquarters, Worms, Vatican City 120
G2 Group, Dsseldorf, Loft apartment, 323, 324 275 Germany 69, 158 Starhill Tea Salon,
Germany 146 Cologne, Germany 137 nhow Berlin Hotel, Placebo Pharmacy, San Marco, Convent, Kuala Lumpur, Malay-
IFA (consumer elec- Loft, Amsterdam, Berlin, Germany 195 Athens, Greece 71 Florence, Italy 120 sia 333
tronics trade fair) Gala Netherlands 198 Niseko Village Look- Ply Project 166 Sana Hospital, Bad State Grid Pavilion,
2011, Messe Berlin, Loftbox 92 out Caf, Hokkaido, Polka Gelato, London, Wildbad, Germany EXPO Shanghai, China
Germany 329 Lookalike Bench, Japan 170 United Kingdom 22 29, 307 266, 267
357
A p p e n dix
Sternen Grill & Belcaf Villa from 1900, con- INDEX OF Kaldewei Pioneers, The Club Hotel, Singa- Herms Rive Gauche,
in the Glatt Shopping version and renova- BUILDING TYPES A Bathtub for Albert pore 25 Paris, France 167
Centre, Zurich, Swit- tion, Dren, Germany Einstein, Cologne, Veterinary practice, IDEA Store in Whi-
zerland 162 315 Bar and Club Design Germany 179 Ratingen, Germany 24 techapel, London,
Suitcase House, Bejing, Vine Leaf Wall, Linz, Aura Light and Sound Practice for Paediatric United Kingdom 89
China 92, 92, 93 Austria 273 Suites Nightclub, Medicine and TCM, Drs. Children and Youth Kanzlei Josiger &
Supper Club, Singa- VIP WING Munich Air- New York City, New Schumann-Winckler- Baby Caf, Tokyo, Collegen, Saalfeld,
pore 223 port, Germany 133, 164 York, USA 190 Schumann, Cologne, Japan 50 Germany 312
SYZYGY Office, Frank- Visitor Centre in Qinhu Baccarat, Paris, France Germany 160 IDEA Store in White Kyoto Silk, Kyoto,
furt am Main, Germany Wetland National Park, 103 Private residence, chapel, London, United Japan 317
14 Jiangsu, China 79 Bar le Lounge, Holzkirchen, Germany Kingdom 89 La Finca, Mallorca,
Table for Vitra 102 W Hotel, London, Sainte-Julie, Quebec, 140 Kinderkunsthaus, Spain 318
TBWA / Hakuhodo, United Kingdom 54, Canada 42 Private residence, Munich, Germany 141 Loft, Amsterdam,
Tokyo, Japan 243 177, 277 Braai, Beirut, Lebanon Milan, Italy 152 Pusteblume-Zentrum, Netherlands 198
Tebfin Office, Johan- WAK Wohnen am Kur- 105 Sana Hospital, Bad Cologne, Germany 18 Lutherkirche altar
nesburg, South Africa haus, Hennef, Germany Buck Rogers Club, Wildbad, Germany 307 School 03, Amsterdam, space, Dsseldorf,
35 158 Frstenfeldbruck, Suitcase House, Bei- Netherlands 36, 163 Germany 38
Tent, London, United Wald aus Wald, Hong Germany 36 jing, China 92, 92, 93 SchulStadtbcherei, Private residence,
Kingdom 57 Kong, China 99 CocoonClub, Frankfurt Arnsberg, Germany 39 Holzkirchen, Germany
Tte de taureau 102 Wellington Airport am Main, Germany Brand Interiors 140
The BrandSpace ana- International Passen- 12-13, 43, 223 American Apparel, Concert Halls Royal Pavilion, Brigh-
morphic logo, Frank- ger Terminal (The Despresso, New York Berlin, Germany 59 J.S. Bach Music Hall, ton, United Kingdom
furt am Main, Germany Rock), New Zealand City, New York, USA 121 Audi Exclusive Lounge Manchester, United 319
260 247 Juliet Supper Club, at the Geneva Auto Kingdom 245 S House, Pegnitz,
The Cathedral of Christ Westfield Shopping New York City, New Salon 2011, Geneva, Germany 138
the Light, Oakland, Centre, Stratford, York, USA 106 Switzerland 25 Conservation of Villa, Neuss, Germany
California, USA 235 United Kingdom 347 MAZZO, Amsterdam, Clean Car, Berlin, Historic Buildings 51
The Ceiling, Hger- Wilkinson Residence, Netherlands 44 Germany 27 Alte Nationalgalerie, Villa from 1900, Dren,
sten, Sweden 188 Portland, Oregon, USA MIXX Bar & Lounge, Comme Des Garons, Berlin, Germany 321, Germany 315
The Club Hotel, Singa- 66, 68, 166 Tokyo, Japan 61 Paris, France 19 322, 324, 325
pore 25, 53 Womb Chair 49 Roxy / Josefine Pista DocMorris Pharmacy, DenkmalBad, Cologne, Exhibition Design
The Future at Your Woven carbon element Principal, Belo Hori- Limburg, Germany 58 Germany 321 BBASS, Ghent,
Feet project, Ulm, 209 zonte, Brazil 207 Douglas, Dsseldorf, Dr. Dux & Kollegen Belgium 216
Germany 203 Xella International Supper Club, Singa- Germany 59 Orthodontists Norwegian Wild Rein-
The Soho Hotel, GmbH, Duisburg, pore 223 Espacio C Mixcoac, Practice, Detmold, deer Centre Pavilion,
London, United King- Germany 197 Zebar, Shanghai, China Mexico City, Mexico 59 Germany 318 Hjerkinn, Dovre, Nor-
dom 132 X-LED, Sssen, and 111 Face To Face, Singa- Ex Oriente Isaak und way 90, 91
The Versus Concept Messe Frankfurt, pore 24 der weie Elefant, Visitor Centre in Qinhu
110 Frankfurt am Main, Barrier-free Gaggenau Showroom, Exhibition, Aachen, Wetland National Park,
Thermo.Bench, Berlin, Germany 270 Building Design Amsterdam, Nether- Germany 311 Jiangsu, China 79
Germany 215 XOCOLATTI, New York Benjamin and Marian lands 58 Grensvaringen, Black Box Revelation,
TIDES Restaurant, New City, New York, USA Schuster Heart Hos- Google Engineering Exhibition, Synagogue Copenhagen, Denmark
York City, New York, 80, 81 pital, Kettering, Ohio, Headquarters, London, of Roermond, Nether- 218
USA 81, 82, 83 Yala Sofa 181 USA 308 United Kingdom 23 lands 312 BMW Museum, Munich,
Tiles IVANKA Concrete Zahnarium, Drs. Day care centre, Heineken Lounge, Josephinum Private Germany 229, 257
Design 316 Stammen & Partner Grevesmhlen, Ger- Newark Liberty Inter- Clinic, Munich, Ger- BOTOXUTOPIA, Milan,
Toolbox Torino Office childrens dentist, many 308 national Airport, New many 309 Italy 259
Lab, Turin, Italy 87, 87 Grevenbroich, Ger- Gynaecological prac- Jersey, USA 26 Kanzlei Josiger & Boxel, Detmold,
Tourist Information at many 192, 251, 271 tice, Maria Hilf Hospi- Hugo Boss, Madrid, Collegen, Saalfeld, Germany 268
the Old Fish Market, Zebar, Shanghai, China tal, Brilon, Germany Spain 340 Germany 312 Chocoladium, Special
Ghent, Belgium 282 111 307 Hugo Boss, Shanghai, Neues Museum, Exhibition in the Uni-
Tree Restaurant, Syd- Zeit und Messel Wel- Hospice, Stiftung China 340, 341 Berlin, Germany 321, versum Science Center,
ney, Australia 170 ten, Exhibition in Marienhospital, Lufthansa Trademark 322, 323, 324 Bremen, Germany 107
Treiber Bakery, Lein- the Messel Pit Visitor Euskirchen, Germany Academy: Room for Royal Pavilion, Brigh- Classic Lounge in the
felden-Echterdingen Centre, Messel, Ger- 304, 306 Innovations, Seeheim, ton, United Kingdom Museum of History,
and Bernhausen, many 156 Les Jardins dAlysea Germany 27 319 Hanover, Germany 101
Germany 54 Residence for the Mercedes Benz Cus- Sepia Lounge and Dots Obsession 104
Tsujita LA, Los Ange- Elderly, Roeser, Lux- tomer Centre, Rastatt, Restaurant, Beirut, Dynamic Performance
les, California, USA 196 embourg 130, 306 Germany 25 Lebanon 314 of Nature, Salt Lake
Turning Pink W, New Sana Hospital, Bad Noma Restaurant, Villa from 1900, Dren, City, Utah, USA 259
York City, New York, Wildbad, Germany 307 Copenhagen, Den- Germany 315 Ex Oriente Isaak und
USA 108 mark 21 der weie Elefant,
turnOn experimental Bathroom Design Panasonic Convention, Conversion and Exhibition, Aachen,
vision for living, ber- Apartment conver- Munich, Germany 60 Rehabilitation Germany 311
all & nirgends 90 sion and renovation, Polka Gelato, London, Apartment conver- Expandable Surface
UIA Stylepark Lounge, Frankfurt am Main, United Kingdom 22 sion and renovation, Pavilion, Cologne,
Berlin, Germany 282 Germany 16 Sana Hospital, Frankfurt am Main, Germany 94, 94
Upperkut Agency, Banheiro publico mas- Patients room, Bad Germany 16 Flylight, Moscow,
Montreal, Canada 30 culino, Vitria, Esprito Wildbad, Germany 29 Anna, Basel, Switzer- Russia 225
Veterinary Clinic for Santo, Brazil 335 Sana Kliniken AG land 46 Garden of Things,
Small Animals, Lbeck, DenkmalBad, Cologne, Headquarters, Isman- Belgian Quarter, Museum of Arts and
Germany 219 Germany 321 ing, Germany 22 Cologne, Germany 309 Crafts, Hamburg,
Veterinary practice, Gallery apartment with Schiphol Airport Bungalow from 1960, Germany 112
Ratingen, Germany pool, Trudering, Lounge 3 / House of Geluwe, Wervik, Bel- Grensvaringen, Syn-
24 Germany 127 Tulips, Amsterdam, gium 16 agogue of Roermond,
Viet Hoa Mess Restau- Hospice, Stiftung Netherlands 26 Casalgrande Padana, Netherlands 312
rant, London, United Marienhospital, Sony Store, Los Ange- Conversion of an old Green Treefrog, St.
Kingdom 175, 221, 228 Euskirchen, Germany les, California, USA 26 farmhouse, Casal- Josef, Austria 274
Villa Chnanir, Lebanon 304, 306 The BrandSpace ana- grande, Reggio Emilia, ICD/ITKE Research
235 Josephinum Private morphic logo, Frank- Italy 38 Pavilion 2011, Stutt-
Villa, Neuss, Germany Clinic, Munich, Ger- furt am Main, Germany DenkmalBad, Cologne, gart, Germany 115, 116
51 many 309 260 Germany 321 Il Fiore di Novembre,
358
A p p e n dix
Exhibition, Triennale Practice for Paediatric Eine Kche / Keine Illy Shop, Milan, Italy Veterinary Clinic for HOEY Loft, Herent,
Design Museum, Milan, Medicine and TCM, Drs. Kche (Kitchen / No 86, 86 Small Animals, Lbeck, Henkel Site, Belgium
Italy 109 Schumann-Winckler- Kitchen), kitchenette Kaldewei Pioneers, Germany 219 175
Interactive Klsch, Schumann, Cologne, in a cupboard in a loft A Bathtub for Albert Viet Hoa Mess Restau- Home 06, Amsterdam,
Cologne, Germany 269 Germany 31, 160 apartment, Leipzig, Einstein, Cologne, rant, London, United Netherlands 243
Kinderkunsthaus, Private Patients Germany 96, 97 Germany 179 Kingdom 175, 221, 228 Home 07, Amsterdam,
Munich, Germany 141 Hospital Room of Private residence, Light Loom, Milan, Villa Chnanir, Lebanon Netherlands 194
nonLin/Lin Pavillon the Future, Medical Holzkirchen, Germany Italy 285 235 Hospice, Stiftung
FRAC Centre, Orlans, Lounge, Berlin, Ger- 140 Lighting Laboratory, Vine Leaf Wall, Linz, Marienhospital,
France 114 many 123 Rdesheim (Nahe), Austria 273 Euskirchen, Germany
One Hundred and Private Practice for Libraries Germany 228 W Hotel, London, 237, 304, 306
Eight, Berlin, Germany Naturopathy, Dr. Brownless Biomedical Matrix Technology AG United Kingdom 54, 177 Kitanokaze, Japan 50
103 Radecki, Cologne, Library, Melbourne, Headquarters, Munich, WAK Wohnen am Kur- La Finca, Mallorca,
Push Button House Germany 235 Australia 202 Germany 162, 230 haus, Hennef, Germany Spain 318
Illy Caff, Venice Bien- ROC Health & Care, City Library on the mizu Hair Salon, Bos- 158 Loft, Amsterdam,
nale, Italy 85, 85 Apeldoorn, Nether- Mailnder Platz, Stutt- ton, Massachusetts, Zahnarium, Drs. Netherlands 198
Light-space installa- lands 44 gart, Germany 238 USA 231 Stammen & Partner Loft apartment,
tion, AIT-Architektur Sana Hospital, Bad IDEA Store in White New Office Design for childrens dentist, Cologne, Germany 137
Salon Munich, Ger- Wildbad, Germany chapel, London, United ICADE Premier Haus, Grevenbroich, Maison Bordeaux,
many 274 29, 307 Kingdom 89 Munich, Germany 219 Germany 192, 251 France 89
Light-space installa- Veterinary Clinic for SchulStadtbcherei, Numptia Super Yacht Moss House, Tokyo,
tion, Venice Architec- Small Animals, Lbeck, Arnsberg, Germany 39 221 Living Japan 240
ture Biennale 2008, Germany 219 OLED installation by Alessandro Bergamo Nakagin Capsule
Italy 275 Veterinary practice, Lighting Philips Lighting, Lan- House, Oderzo, Italy 53 Tower, Tokyo, Japan
Rolls, Tokyo, Japan 173 Ratingen, Germany 24 Alessandro Bergamo genthal, Switzerland Anna, Basel, Switzer- 77, 78, 81
Shang Xia, Shanghai, Zahnarium, Drs. House, Oderzo, Italy 53 191 land 46 Narrowest Apartment
China 183 Stammen & Partner Aura Light and Sound OLED Lighting 214 Apartment at Mayba- in Antwerp, Antwerp,
Wald aus Wald, Hong childrens dentist, Suites Nightclub, Panasonic Convention, chufer, Berlin, Ger- Belgium 78
Kong, China 99 Grevenbroich, Ger- New York City, New Munich, Germany 60 many 41 One Central Park East,
Zeit und Messel Wel- many 192, 251, 271 York, USA 190 Penthouse B27, Frank- Apartment conver- Sydney Australia 131
ten, Exhibition in Baccarat, Paris, France furt am Main, Germany sion and renovation, Oostduinkerke House,
the Messel Pit Visitor Hotel Design 103 231, 232 Frankfurt am Main, Koksijde, Belgium 164
Centre, Messel, Atomic Spa Suisse, BBASS, Ghent, Performative light- Germany 16 Penthouse B27, Frank-
Germany 156 Milan, Italy 139 Belgium 216 space installation, Apartment, Milan, Italy furt am Main, Germany
CitizenM Hotel, Beijing Noodle No. 9, AIT-ArchitekturSalon 152, 153, 154, 155 231, 232
Healthcare Design Glasgow, United King- Las Vegas, Nevada, Munich, Germany 274 Apartment, Paris, Private residence,
Benjamin and Marian dom 78 USA 180, 181 Performative light- France 122, 124, 125, 151 Cologne, Germany
Schuster Heart Hos- DarHi, Nefta, Tunisia Black Box Revelation, space installation, Baby Caf, Tokyo, 141, 162
pital, Kettering, Ohio, 320 Copenhagen, Denmark Venice Architecture Japan 50 Private residence,
USA 308 Future Hotel Show- 218 Biennale 2008, Italy Beach house, Dutch Holzkirchen, Germany
Day care centre, case, Duisburg, Black Treefrog, Bad 275 coast 34 140
Grevesmhlen, Germany 190 Waltersdorf, Austria 273 Placebo Pharmacy, Black Treefrog, Bad Private residence,
Germany 308 Hilton Frankfurt Air- BMW Museum, Munich, Athens, Greece 71 Waltersdorf, Austria Toronto, Canada 55
DKV Bremen Resi- port Hotel, Germany Germany 229 Post Digital Philips 273 Private residence,
dence for the Elderly 61, 251 BotoxLamp, Berlin, Lighting, Milan, Italy Bungalow from 1960, Ypres, Belgium 47
on the Contrescarpe, Hilton Pattaya, Thai- Germany 95, 95 191 Geluwe, Wervik, Bel- Les Jardins dAlysea
Bremen, Germany 31 land 168, 189, 232, 233 Chan pan-Asian Practice for Paediatric gium 16 Residence for the
EWK Spandau Medical Hotel berfluss, Bre- Restaurant and Bar in Medicine and TCM, Drs. Carlos Ortega House, Elderly, Roeser, Lux-
Centre, Berlin, men, Germany 61 The Met Hotel, Thessa- Schumann-Winckler- Mexico City, Mexico embourg 130, 306
Germany 39 Hotel Zenden, Maas- loniki, Greece 226, 227 Schumann, Cologne, 168 Rounded Loft, Prague,
FutureCare at CeBit, tricht, Netherlands 74 Cienna Restaurant, Germany 160 Casa Micheli, Florence, Czech Republic
Bitkom with Deutsche Haus Untersberg Youth New York City, New Private Practice for Italy 139 28, 162
Messe Hannover 2010, Hostel, Berchtesgaden, York, USA 224 Naturopathy, Dr. Casalgrande Padana, Sasao House, Tokyo,
Germany 261 Germany 76 City Library on the Radecki, Cologne, conversion of an old Japan 48
Gynaecological prac- Lanserhof, Lans near Mailnder Platz, Stutt- Germany 235 farmhouse, Casal- SensFloor 279
tice, Maria Hilf Hospi- Innsbruck, Austria 131 gart, Germany 238 Roxy / Josefine Pista grande, Reggio Emilia, S House, Pegnitz,
tal, Brilon, Germany; nhow Berlin Hotel, Clayton Utz Head Principal, Belo Hori- Italy 38 Germany 138
178, 307 Berlin, Germany 195 Office, Sydney, Austra- zonte, Brazil 207 Collectors Loft, New Single-family house,
Hospice, Stiftung Recycling Artistic lia 239 Samas Office Furniture York City, New York, Turgi, Switzerland 199
Marienhospital, Room Concepts for a CocoonClub, Frankfurt Headquarters, Worms, USA 28 Smart Home, flexible
Euskirchen, Germany Hotel, Cologne, Ger- am Main, Germany Germany 158 DenkmalBad, Cologne, network 278
237, 304, 306 many 72 12-13, 43, 223 Schlter Graf & Part- Germany 321 Suitcase House, Bei-
Illoiha Omotesando Ostseeblick Beach DER SPIEGEL Canteen, ner, Dortmund, Ger- DKV Bremen Resi- jing, China 92, 92, 93
Fitness Gym, Tokyo, Hotel, Meerness-Spa, Hamburg, Germany many 159, 160 dence for the Elderly turnOn experimental
Japan 11 Seebad Heringsdorf, 224, 252, 253 Sci-Fi Trade Fair Stand, on the Contrescarpe, vision for living, ber-
Josephinum Private Germany 167 EastWest Studios, Los Cornicon, San Diego, Bremen, Germany 31 all & nirgends 90
Clinic, Munich, Ger- Suitcase House, Angeles, California, California, USA 178 Eine Kche / Keine Villa Chnanir, Lebanon
many 309 Beijing, China 92, USA 15 Shine Leighton Center, Kche, kitchenette in 235
Les Jardins dAlysea 92, 93 Edge Restaurant in Hong Kong, China 48 a cupboard in a loft Villa, Neuss, Germany
Residence for the The Club Hotel, Singa- Hilton Pattaya, Thai- Shiseido the Ginza, apartment, Leipzig, 51
Elderly, Roeser, Lux- pore 25, 53 land 168, 233 Tokyo, Japan 236 Germany 96, 97 Villa from 1900, Dren,
embourg 306 VIP WING Munich Air- Flylight, Moscow, SHOEBALOO Shoe Friggebod Holiday Germany 315
Maria-Hilf Hospital, port, Germany 133, 164 Russia 225 Shop, Amsterdam, Home, Gteborg, WAK Wohnen am Kur-
Brilon, Germany W Hotel, London, Future Hotel Show- Netherlands 222 Sweden 89 haus, Hennef, Germany
112, 113 United Kingdom 54, case, Duisburg, Ger- SHOEBALOO Shoe Gallery apartment with 158
Ostseeblick Beach 177, 277 many 190 Shop, Maastricht, pool, Trudering, Ger- Wilkinson Residence,
Hotel, Meerness-Spa, Hilton Pattaya, Thai- Netherlands 238 many 127 Portland, Oregon, USA
Seebad Heringsdorf, Kitchen Design land 232, 233 Supper Club, Singa- GoltsteinForum, 66, 68, 166
Germany 167 Apartment, Milan, Hospice, Stiftung pore 223 Cologne, Germany, 57
Paracelsus Hospital, Italy 153 Marienhospital, The Cathedral of Christ Haus Untersberg Youth Office Design
Osnabrck, Germany Apartment, Paris, Euskirchen, Germany the Light, Oakland, Hostel, Berchtesgaden, Blaue Fabrik, Thalwil,
147 France 124 237, 304, 306 California, USA 235 Germany 76 Switzerland 77
359
A p p e n dix
100% interior confer- Headquarters, Isman- Orto Living Cover- Heineken Lounge, Viet Hoa Mess Restau- Shine Fashion Walk,
ence room, Cologne, ing, Germany 22, 330, ing 75 Newark Liberty Inter- rant, London, United Hong Kong, China 111
Germany 210, 211 331 Philips OLED lighting national Airport, New Kingdom 175, 221, 228 Shine Leighton Center,
Aareon AG, Mainz, Schlter Graf & 214 Jersey, USA 26 Hong Kong, China 48
Germany 56 Partner, Dortmund, Ply Project 166, 250 Hgskolan i Halmstad, Ship Building Shiseido the Ginza,
Adidas Laces, wayfind Germany 159, 160 Stardust ccflex wall Krhuset, Halmstad, MS Artania; CUBIK 3 13 Tokyo, Japan 236
ing system, Herzogen Siemens HR Depart- covering 210, 211 Sweden 200 Numptia Super Yacht SHOEBALOO Shoe
aurach, Germany 144 ment, Karlsruhe, The Future at Your Hot Fudo Restaurant, 51, 221 Shop, Amsterdam,
Clayton Utz Head Germany 145 Feet project, Ulm, Fujikawaguchiko, Salperton IV 127 Netherlands 222
Office, Sydney, Austra- SYZYGY Office, Germany 203 Japan 134 SHOEBALOO Shoe
lia 239 Frankfurt am Main, The Ceiling, Hger- INI ANI Coffee Shop, Shop Design Shop, Maastricht,
F&S solar concept, Germany 14 sten, Sweden 188 New York City, New American Apparel, Netherlands 238
Euskirchen, Germany TBWA / Hakuhodo, Thermo.Bench, Berlin, York, USA 80, 80, 81 Berlin, Germany 59 Sony Store, Los Ange-
148, 149 Tokyo, Japan 243 Germany 215 Juliet Supper Club, Arnsdorf Opticks, Mel- les, California, USA 26
Face To Face, Singa- Tebfin Office, Johan- WAK Wohnen am Kur- New York City, New bourne, Australia 84 Treiber Bakery, Lein-
pore 24 nesburg, South Africa haus, Hennef, Germany York, USA 106 Artshop 09, Basel, felden-Echterdingen
German Stock 35 158 Leila Restaurant, Switzerland 183 and Bernhausen, Ger-
Exchange, Frankfurt The BrandSpace ana- Womb Chair 49 Dubai, United Arab Clean Car, Berlin, many 54
am Main, Germany 283 morphic logo, Frank- Yala Sofa 181 Emirates 100 Germany 27 XOCOLATTI, New York
Google Engineering furt am Main, Germany M Coffee, Tehran, Iran Comme Des Garons, City, New York, USA
Headquarters, Lon- 260 Religious Buildings 174 Paris, France 19 80, 81
don, United Kingdom Toolbox Torino Office Lutherkirche altar MAZZO, Amsterdam, Daikanyama T-Site,
23, 249 Lab, Turin, Italy 87, 87 space, Dsseldorf Netherlands 44 Tokyo, Japan 27 Showrooms
Google offices, Dssel- Tourist Information at Germany 38, 175 MIXX Bar & Lounge, Dig, New York City, Audi Urban Future
dorf, Germany 146 the Old Fish Market, Synagogue, Roermond, Tokyo, Japan 61 New York, USA 117, 118 Award, Berlin, Ger-
GREY Worldwide Ghent, Belgium 282 Grensvaringen, Nautilus Project, DocMorris Pharmacy, many 284
Advertising Agency, UpperCut Agency, Exhibition, Roermond, Singapore 171 Limburg, Germany 58 Comme Des Garons,
Hamburg, Germany 146 Montreal, Canada 30 Netherlands 312 Niseko Village Look- Douglas, Dsseldorf, Paris, France 19
Heidi House, Tokyo, Vine Leaf Wall, Linz, The Cathedral of Christ out Caf, Hokkaido, Germany 59 EastWest Studios, Los
Japan 335 Austria 273 the Light, Oakland, Japan 170 DURAS Nagashima, Angeles, California,
Ideenbotschaft Grey Xella International California, USA 235 Noma Restaurant, Kuwana, Japan 39 USA 15
G2 Group, Dsseldorf, GmbH, Duisburg, Ger- Copenhagen, Den- Esprit, Hong Kong, Elie Tahari Fashion
Germany 146 many 197 Restaurants mark 21 China 342 Showroom, New York
International Shipping X-LED, Sssen, and and Catering Nomads Restaurant, FreudenHaus Optik City, New York, USA
Company, London, Messe Frankfurt, 208 Duecento Otto Amsterdam, Nether- Opticians, Munich, 186, 187
United Kingdom 317 Frankfurt am Main, Restaurant, Hong lands 100 Germany 46 Expandable Surface
Kanzlei Josiger & Germany 270 Kong, China 333 OLIVOMARE Restau- Gaggenau Showroom, Pavilion, Cologne,
Collegen, Saalfeld, Arata Restaurant, rant, London, United Amsterdam, Nether- Germany 94, 94
Germany 312 Pharmacies Tokyo, Japan 344 Kingdom 55, 113, 165, lands 58 FreudenHaus Optik,
KWS Kraftverkehr DocMorris Pharmacy, Arthouse Caf, Hang- 202 Herms Rive Gauche, Opticians, Munich,
Wupper-Sieg Cus- Limburg, Germany 58 zhou, China 189 Omonia Bakery, New Paris, France 167 Germany 46
tomer Centre, Leverku- Placebo Pharmacy, Barbican Food Hall, York City, New York, Hugo Boss, Madrid, Gaggenau Showroom,
sen, Germany 188 Athens, Greece 71 London, United King- USA 197 Spain 340 Amsterdam, Nether-
Lufthansa Trademark dom 45 Polka Gelato, London, Hugo Boss, Shanghai, lands 58
Academy: Room for Product Design Beijing Noodle No. 9, United Kingdom 22 China 340, 341 Garment Garden,
Innovations, Seeheim, Bang, Milan, Italy 204 Las Vegas, Nevada, Push Button House Illy Shop, Milan, Italy Messe Frankfurt,
Germany 27 Bltezeit Seating, USA 180, 181 Illy Caff, Venice Bien- 86, 86 Germany 111
Matrix Technology AG Cologne, Germany 33 BOOLEAN Tokyo Uni- nale 2007, Italy 85, 85 INDULGI, Kyoto, Japan Herms Rive Gauche,
Headquarters, Munich, BotoxLamp, Berlin, versity Tetsumon Caf, Rigoletto Spice Mar- 129 Paris, France 167
Germany 162, 230 Germany 95, 95 Tokyo, Japan 169 ket, Tokyo, Japan 345 KWS Kraftverkehr Hugo Boss, Madrid,
Mercedes Benz Cus- Carbon element 209 Caf Julius of HOSI Royal China Restau- Wupper-Sieg Cus- Spain 340
tomer Center, Rastatt, Carbon parquet, Linz, Linz, Austria 14 rant, Singapore 338 tomer Centre, Leverku- Hugo Boss, Shanghai,
Germany 25 Aachen, Germany 185 Candido Restaurant, Schiphol Airport sen, Germany China 340, 341
Monterosa Department Corpform, Weil am Istanbul, Turkey 336 Lounge 3 / House of 188 Illy Shop, Milan, Italy
Store, Zurich, Switzer- Rhein, Germany 105 Canteen, London, Tulips, Amsterdam, Magic Store, Tokyo, 86, 86
land 140, 143, 150 Emotion set design United Kingdom 47 Netherlands 26 Japan 73 Jaga Experience Lab,
New Office Design for for canteens, Deut- Chan pan-Asian Sepia Lounge and MAYGREEN Fashion Diepenbeek, Belgium
ICADE Premier Haus, sche Steinzeug AG, Restaurant and Bar in Restaurant, Beirut, Store, Hamburg, Ger- 263
Munich, Germany 219, Alfter-Witterschlick, The Met Hotel, Thessa- Lebanon 314 many 329 Kyoto Silk, Kyoto,
246, 276 Germany 135 loniki, Greece 226, 227 Spaghetti Tales mizu Hair Salon, Bos- Japan 317
Norton Rose, Frankfurt Estacin Glocal Cienna Restaurant, Restaurant, Hong ton, Massachusetts, Light Loom, Milan,
am Main, Germany Design, Mexico City, New York City, New Kong, China 202, 337 USA 231 Italy 285
159, 249 Mexico 168 York, USA 224 Spice Market, London, Multipticas Omega Minamo, Tokyo, Japan
Office 00, Amsterdam, Folding A-part, Israel DASH Dogs, New York United Kingdom 123 Opticians, Murcia, 265
Netherlands 30 201 City, New York, USA Starhill Tea Salon, Spain 147 Panasonic Convention,
Office 03, Amsterdam, IVANKA Tiles Concrete 80, 80, 81 Kuala Lumpur, Malay- Omonia Bakery, New Munich, Germany 60
Netherlands 249 Design 316 DER SPIEGEL canteen, sia 333 York City, New York, Rolls, Tokyo, Japan 173
Office 04, Amsterdam, Kaldewei Pioneers, Hamburg, Germany Sternen Grill & Belcaf USA 197 Royal Pavilion, Brighton,
Netherlands 200 A Bathtub for Albert 224, 252, 253 in the Glatt Shopping Open Lounge Raif- United Kingdom 319
OSBox, Kortrijk, Bel- Einstein, Cologne, Edge Restaurant in Hil- Centre, Zurich, Swit- feisenbank, Zurich, Shine Fashion Walk,
gium 163 Germany 179 ton Pattaya, Thailand zerland 162 Switzerland 184 Hong Kong, China 111
Post Panic, Amster- Linger a Little Longer 168, 233 TIDES Restaurant, New Placebo Pharmacy, Shine Leighton Center,
dam, Netherlands 88 table 214 Elemnt Restaurant, York City, New York, Athen, Greece 71 Hong Kong, China 48
Private residence, Lookalike Bench, Langenthal, Germany USA 81, 82, 83 RIBA Foldaway Book- turnOn experimental
Cologne, Germany 141 Frankfurt am Main, 107 Tree Restaurant, Syd- shop, London, United vision for living, ber-
Saatchi & Saatchi Germany, and Asa- Fabbrica Restaurant, ney, Australia 170 Kingdom 83, 84 all & nirgends 90
Thailand, Bangkok, hikawa, Japan 33 Bergen, Netherlands 166 Treiber Bakery, Lein- Salon Nemetz, Munich, UIA Stylepark Lounge,
Thailand 145, 197 Marilyn Monroe pat- Flex, Sado, Japan 250 felden-Echterdingen Germany; 313 Berlin, Germany 282
Samas Office Furniture tern design 213 Garamond Restaurant, and Bernhausen, Ger- Schiphol Airport Vine Leaf Sphere in the
Headquarters, Worms, Myto chair for Plank Berlin, Germany 135 many 54 Lounge 3 / House of Black Treefrog, Bad
Germany 69, 158 in collaboration with Hacienda del Cielo, Tsujita LA, Los Ange- Tulips, Amsterdam, Waltersdorf, Austria
Sana Kliniken AG, BASF 215 Tokyo, Japan 344 les, California, USA 196 Netherlands 26 273
360
A p p e n dix
Trade Fair Design INDEX OF PLACES Florence, Italy 121, 139 Maastricht, Nether- Shanghai, China
Audi Exclusive Lounge Aachen, Germany Frankfurt am Main, lands 74, 238 111, 114, 183, 266, 267,
at the Geneva Auto 185, 311 Germany 12-13, 14, 16, Madrid, Spain 133, 340 340, 341
Salon 2011, Geneva, Alfter-Witterschlick, 33, 43, 61, 111, 159, 223, Mainz, Germany 56 Singapore 24, 25, 53,
Switzerland Germany 135 231, 232, 249, 251, 260, Manchester, United 171, 223, 288, 338, 347
Audi Urban Future Amsterdam, Nether- 270, 283, 352 Kingdom 245 St. Josef, Austria 274
Award, Berlin, Ger- lands 26, 30, 36, 44, 58, Frstenfeldbruck, Melbourne, Australia Stratford, United King-
many 284 88, 100, 163, 194, 198, Germany 36 14, 68, 84, 202 dom 347
FutureCare at CeBit, 200, 222, 243, 249 Fujikawaguchiko, Messel, Germany 156 Stuttgart 115, 116, 238
Bitkom with Deutsche Antwerp, Belgium 73 Japan 134 Mexico City, Mexico Sydney, Australia 131,
Messe Hannover 2010, Apeldoorn, Nether- Geluwe, Wervik, 59, 168 170, 239
Germany 261 lands 44 Belgium 16 Milan, Italy 86, 86, 109, Tashkent, Uzbekistan
Garment Garden, Arnsberg, Germany 39 Geneva, Switzerland 139, 152, 153, 154, 155, 254, 255
Messe Frankfurt, Asahikawa, Japan 33 25, 150 191, 204, 259, 285, 339 Tehran, Iran 174
Germany 111 Athens, Greece 71 Ghent, Belgium 216, Montreal, Canada 30 Thalwil, Switzerland 77
IFA (consumer elec- Bad Waltersdorf, 282 Moscow, Russia 225 Thessaloniki, Greece
tronics trade fair) Gala Austria 273 Glasgow, United King- Mumbai, India 331 226, 227
2011, Messe Berlin, Bad Wildbad, Germany dom 78 Munich, Germany 46, Tokyo, Japan 11, 20, 27,
Germany 329 29, 307 Gteborg, Sweden 89 60, 133, 141, 162, 164, 48, 50, 61, 73, 77, 169,
Palace of International Bangkok, Thailand Grevenbroich, Ger- 219, 229, 230, 246, 257, 173, 236, 240, 243, 265,
Forums, lobby, Tash- 145, 197 many 192, 251, 271 274, 276, 309, 313 335, 339, 344, 345
kent, Uzbekistan Basel, Switzerland Grevesmhlen, Ger- Murcia, Spain 147 Toronto, Canada 55,
254, 255 46, 183 many 308 Naples, Italy 37 339
Panasonic Convention, Beijing, China Hgersten, Sweden 188 Nefta, Tunisia 320 Trudering, Germany
Munich, Germany 60 92, 92, 93 Halle, Germany 310 Neuss, Germany 51 127
Performative light- Beirut, Lebanon Halmstad, Sweden 200 New Delhi, India 20, Turgi, Switzerland 199
space installation, 105, 314 Hamburg, Germany 112, 339 Turin, Italy 87, 87
AIT-ArchitekturSalon Belo Horizonte, Brazil 146, 224, 252, 253, 272 New York City, New Ulm, Germany 203
Munich, Germany 274 207 Hangzhou, China 189 York, USA 20, 28, 80, Valencia, Spain 339
Sci-Fi Trade Fair Berchtesgaden, Hanover, Germany 56, 80, 81, 82, 83, 106, Venice, Italy 85, 85,
Stand, Cornicon, San Germany 76 86, 101, 261 108, 117, 118, 121, 132, 128, 275, 343
Diego, California, USA Bergen, Netherlands Heilbronn, Germany 86 133, 150, 186,187, 190, Vitria, Esprito Santo,
178 166 Hennef, Germany 158 197, 224 Brazil 335
Siemens Trade Fair Berlin, Germany 20, Herent, Belgium 175 Newark, New Jersey, Weil am Rhein,
Stand for the Inter- 27,39, 41, 59, 95, 95, Herzogenaurach, Ger- USA 26 Germany 105
kama 2007, Hannover 103, 123, 135, 195, 215, many 144 Niseko, Hokkaido, Wellington, New
Messe, Germany 56 282, 284, 321, 322, 323, Hjerkinn, Dovre, Nor- Japan 170 Zealand 247
State Grid Pavilon, 324, 325, 339 way 90, 91 Oakland, California, Worms, Germany
EXPO Shanghai, China Bernhausen, Germany Holzkirchen, Germany USA 235 69, 158
266, 267 54 140 Oderzo, Italy 53 Ypres, Belgium 47
Tent, London, United Bonn, Germany 321 Hong Kong, China 48, Orlans, France 114 Zurich, Switzerland
Kingdom 57 Bordeaux, France 89 69, 92, 99, 111, 202, 333, Oslo, Norway 90 140, 143, 150, 162, 184
Boston, Massachu- 337, 342 Osnabrck, Germany
Transport Buildings setts, USA 231 Ismaning, Germany 22, 147
Metronapoli Univer- Braunschweig, Ger- 330, 331 Paris, France 19, 63, 83,
sit Station, Naples, many 103 Istanbul, Turkey 336 103, 114, 122, 124, 125,
Italy 37 Bremen, Germany 31, Johannesburg, South 126, 128, 150, 151, 167,
Schiphol Airport 61, 107 Africa 35 310, 339
Lounge 3 / House of Brighton, United King- Karlsruhe, Germany Pattaya, Thailand 168,
Tulips, Amsterdam, dom 319 145 189, 232, 233
Netherlands 26 Brilon, Germany 112, Kassel, Germany 206 Pegnitz, Germany 138
Wellington Airport 113, 178, 307 Kettering, Ohio, USA Pierrefonds, France
International Passen- Budapest, Hungary 20 308 310
ger Terminal (The Carcassonne, France Koksijde, Belgium 164 Portland, Oregon, USA
Rock), Wellington, 310 Kortrijk, Belgium 163 66, 68, 166
New Zealand 247 Casalgrande, Reggio Kuala Lumpur, Malay- Prague, Czech Repub-
Emilia, Italy 38 sia 333 lic 28, 162
Cologne, Germany 18, Kuwana, Japan 39 Qinhu Wetland
31, 33, 57, 72, 94, 137, Kyoto, Japan 129, 317 National Park, Jiangsu,
141, 160, 162, 179, 208, Langenthal, Switzer- China 79
210, 211, 235, 269, 309, land 107, 191 Rastatt, Germany 25
310, 321 Lans near Innsbruck, Ratingen, Germany 24
Copenhagen, Denmark Austria 131 Roermond, Nether-
21, 218 Las Vegas, Nevada, lands 312
Detmold, Germany USA 180, 181 Roeser, Luxemburg
268, 318 Leinfelden-Echterdin- 130, 306
Detroit, Michigan, gen, Germany 54 Rdesheim (Nahe),
USA 40 Leipzig, Germany Germany 228
Diepenbeek, Belgium 96, 97 Saalfeld, Germany 312
263 Leverkusen, Germany Saarbrcken, Germany
Dortmund, Germany 188 205, 206
159, 160 Limburg, Germany 58 Sado, Japan 250
Dubai, United Arab Linz, Austria 14, 273 Sainte-Julie, Quebec,
Emirates 100 London, United King- Canada 42
Dublin, Ireland 339 dom 22, 23, 45, 47, 54, Salt Lake City, Utah,
Dren, Germany 315 55, 57, 81, 83, 84, 89, USA 259
Dsseldorf, Germany 113, 123, 132, 165, 175, San Diego, California,
38, 59, 146, 175 177, 202, 208, 221, 228, USA 178
Duisburg, Germany 249, 277, 317, 319, 343 Seebad Heringsdorf,
190, 197 Los Angeles, Califor- Germany 167
Euskirchen, Germany nia, USA 15, 26, 196 Seeheim, Germany 27
148, 149, 237, 304, 306 Lbeck, Germany 219 Seychelles 193
361
caimi
SUStaInaBle and BeaUtIFUl: FUrnISHInG
teXtIleS made oF treVIra CS
as a manufacturer of polyester fibres, trevira From 2013, a recycling concept for trevira cS can be used to make acoustic dampeners in
is committed to sustainability in all its activi- materials will be available for manufacturers the form of panels, room dividers, suspended
ties, not just in the production of fibres. all and users to return discarded textiles for recy- ceiling sails and wall coverings.
trevira products bear the oeko-tex Standard cling into other products such as lagging or Sliding panels, roller blinds, vertical vanes as
100 certificate and the company conforms to insulation material. well as room dividers and wall cladding made
certification standards for quality assurance Modern office architecture is increasingly of flame-retardant hybrid yarns offer a range
and environmental and energy management recognising that communicative open-plan of design possibilities for clean and minimalist
systems. treviras advantages are apparent work environments must also provide areas for room elements. the stiffened material keeps
from the moment they are put to use. For concentration and peace and quiet. acoustic its shape and hangs much better than conven-
example, unlike materials made of natural elements made of textile materials are not tional materials.
fibres, textiles made of trevira cS need no only effective sound absorbers but can also
additional fire-retardant surface treatment be used as variable and decorative elements
because the flame-retardant properties are that are easy to integrate into the offices
already built into the fibres themselves. interior design. textiles made of trevira cS
right: coulisse
left: procedes-i-d interior design centre: abinitio
emotIon: CreatIVe
FUnCtIonalItY
Inspired by slate, emotion floor tiles are
available in a range of expressive surface
variants, and are complemented
by a creative palette of wall tiles and
decorative elements.
PatIna: tHe
FaSCInatIon oF traCeS
oF tIme
the fascination of traces of weathering
in a ceramic tile a mineral mixture is
applied layer on layer to create a tile with
an organic surface texture. Decorative
craQUel wall elements complement
the overall feeling of authenticity.
Buchtal 1
92521 Schwarzenfeld www.agrob-buchtal.de
Germany agrob-buchtal@deutsche-steinzeug.de
11 06 57 9 10 71 27 8 1118971 1089277 1102366 1020541 1104105 1106588 1121487
WWW.ARCHITONIC .COM
www.architonic.com/PRODUCT CODE
www.sto-aevero.de
tHe FUSIon oF wall
and FUrnItUre
Life is colourful. Colours reflect our moods and influence how we feel. Architects know this and use colour to design creative and atmospheric environments,
for example for buildings such as hospitals, universities and offices. nora systems knows this too and has developed a corresponding innovative new rubber
floor covering. The result speaks for itself, is available in 38 inspiring colours and is called noraplan sentica.
Experience noraplan sentica, the feelgood floor: www.nora-sentica.com/uk