_DESIGN _ARCHITECTURE _INTERIORS _CURIOSIT Y

SPECIAL REPORTS
The latest in
kitchens and
bathrooms

Time
to WHAT’S NEXT FOR
OFFICES, SCHOOLS, AIRPORTS AND MORE

reboot $9.95
SEPT 2020
PM40048073 R09064
“Beyond the deliverability and the quality, Western Window Systems
gives me the ability to get the right product the first time.”

- Dan Brunn, principal, Dan Brunn Architecture

western
window systems
 westernwindowsystems.com

Moving glass walls and windows for all the ways you live.
Contemporary solutions for any view
 contemporary aluminum windows and doors

alumilex.com

ALUMILEX CANADA WINDOW WORKS MUSKOKA ANIG NKARCHITECT

3425 Industriel Blvd 2358 Hwy #11, RR#1 2040 Ellesmere Rd, Unit#1 by appointment only
Montreal, QC Gravenhurst, ON Scarborough, ON 856 Kingston Road
Canada H1H 5N9 Canada P1P 1R1 Canada M1H 3B6 Toronto, ON
tel. +1 514 955 4135 tel. +1 705 687 7617 tel. +1 416 438 7213 Canada M4E 1S3
tel. +1 647 427 0113 sales@windowworksmuskoka.net www.anigwindows.com tel. +1 416 698 9416
tel. +1 866 955 4135 www.nkarchitect.ca
info@alumilex.com
TORONTO - BROSSARD - LAVAL - MONTREAL Astrolab 2.0. Dining table, designed by Roche Bobois Studio.
In-store interior design & 3D visualization services.* Ava. Dining armchairs, designed by Song Wen Zhong.
Vibrato. Floor lamp, designed by Cédric Ragot.
Manufactured in Europe.
French Art de Vivre
Photo Michel Gibert, photograph used for reference only. Centro de Interpretação do Românico, Lousada, Portugal. *Conditions apply, contact store for details.
 2020
AZ AWARDS GALA
AN ONLINE CELEBRATION
WITH FREE ATTENDANCE

6:00PM
COCKTAIL HOUR

FOLLOWED BY
AZ AWARDS SHOW
ANNOUNCING THE
2020 WINNERS

And the Winners are...

Join us as we mark the 10th Edition of the AZ Awards in
the company of All-Star Architects and Designers.

Come celebrate the very best in international architecture,

landscape, interiors and products.

F R I D AY REGISTER NOW TO
RECEIVE THE PROGRAM
SEPTEMBER 18, 2020 AWARDS.AZUREMAGAZINE.COM

PRESENTED BY

SPONSORED BY GALA SPONSORS

GALA PARTNER
 September 2020 Contents

_84
The
Workspace
Issue

Features

064 The Views from Here

How will COVID-19 affect architecture and
design? To find out, Azure canvassed a wide
range of experts for their takes on the future
of offices, schools, airports and more.

070 Natural Balance

Aiming to showcase the benefits of working
close to home, Ecuador’s Diez + Muller
fashions a striking multi-use complex with a
strong link to nature. By Danny Sinopoli

076 Service with a Style

For a Japanese tech firm’s Toronto satellite,
local studio Uufie goes bold, transforming
a generic corporate suite through rich
custom details. By Elizabeth Pagliacolo

080 The Office As We Knew It No Longer Exists

Even before the pandemic, workplaces were
straddling the virtual and physical. And while A bright red task chair
that’s likely to continue, so will our need for animates a work nook in
the familiar. By Talitha Liu and Lexi Tsien a home by Studiohuerta
in Los Cabos, Mexico.
Photo by Roland Halbe
084 Baja California High
A Mexican residence by Studiohuerta is a Cover photo of the central
atrium in Diez + Muller’s
model of both austere beauty and progres- mixed-use Natura complex
sive building practices. By Simon Lewsen in Ecuador by JAG Studio
Contents September 2020

First + Foremost
020 Letter from the Editor
022 Contributors
027 First + Foremost

_54
Torii by Oki Sato bridges Italy and Japan
028 Insight
For Spain’s MUT Design, a slow method is
king (and key to the studio’s success)

Pretty
030 Landscape
BAU’s elevated walkway in China evokes the
Yangtze in concrete and steel

PVC
032 Trendspotting
Among the highlights of 2020’s (virtual)
product launches so far: Milan’s earthy reds,
ribbed forms in NYC, soft looks via NeoCon
036 Profile
Designer Rebecca Richwhite, whose work
includes a revamp of The Old Vic in London,
blends nature and history with aplomb
038 Process
ANDlight’s amorphous new lighting series
conjures river rocks
041 Site Visit
In England, a co-working space by Note
Design Studio revives both a heritage build-
ing and the Swedish Grace aesthetic
044 Groundbreaker
As realized by Rand Elliot, Oklahoma City’s
new arts venue is a real reflection of place
051 Spotlight: Facades
Fresh finishes, pretty PVC and circadian
curtain walls
057 Spotlight: Kitchens
Adaptable systems, customizable coolers
and more

Spec Sheet

_90 090 Products

Bathroom
094 Materials

Think Plus
Surfacing

Sinks 096 Boldface

People and projects in the news
098 Final Thought
Peeking through Le Corb’s windows

014 _ _SEPT 2020

PHOTOGRAPHY WADE GRIFFITH PHOTOGRAPHY, COURTESY OF CALLISONRTKL INC.

PROJECT NOKIA CORPORATE LOBBY, DALLAS, TX

DESIGN CALLISONRTKL // GENERAL CONTRACTOR STRUCTURE TONE SW
BUILT BY EVENTSCAPE // SEE MORE AT EVENTSCAPE.COM

TORONTO | NEW YORK | DETROIT

 Vol. 36 - No. 281 SEPT 2020

Editor Senior Account Managers

Danny Sinopoli Jeffrey Bakazias
(416) 203-9674 x238
Art Director jeffrey@azureonline.com
Cristian Ordóñez
Neil Young
Executive Editor (416) 203-9674 x230
Elizabeth Pagliacolo neil@azureonline.com

Managing Editor
Kendra Jackson Director Integrated Production
Alessandro Cancian
Associate Editor
Evan Pavka Digital Development Manager
Francesco Sgaramella
Associate Art Director
Vicky Lee Web Editor
Stefan Novakovic
Assistant Art Director
Kari Silver Web Assistant
Daniella Viggiani
Junior Digital Designer
Anna Lin Web Intern
Rain Senra-François
Copy Editor
David Dick-Agnew

Director Marketing & Partnerships

Contributors
Mahasti Eslahjou
Veronika Aquila, Reinder Bakker,
Ben van Berkel, Marc Blouin,
AZ Awards Development Manager
Stefano Boeri, Maxime Brouillet,
Stephanie Galt
John Carey, Giovanna Dunmall,
Shai Gil, Jeff Goldberg, Roland Halbe,
Takashi Homma, Relja Ivanić, JAG Studio,
Administration

Alatò
David Jensen, Simon Lewsen, Talitha Liu,
Olga Chernyak, Elena Zaralieva
Scott McDonald, Tim McKeough,
Ashley McLellan, Rick Merrick,
Catherine Orzes, Carolyn Pioro, Carlo Ratti,
Mariko Reed, Corinna Reeves, Kevin Scott,
Pavel Shubskiy, Michael Sinclair, David Sokol,
Yuki Sumner, Jaclyn Tersigni, Lexi Tsien,
Michael Webb, Regina Yang, Yosigo

Editorial Director/Chief Content Officer Publisher/Chief Executive Officer

Nelda Rodger Sergio Sgaramella

By Studio Jean-Philippe Nuel Letters to the Editor: azure@azureonline.com Staff can be reached at: firstname@azureonline.com

JP11 Print Subscriptions

Canada ⁄ U.S.: 1 year, $39.95 International:
Digital Subscriptions
Worldwide: 1 year, $25.95
1 year – surface, $70.00 2 years, $35.95
Customer service: (416) 203-9674 Digital subscriptions to Azure may be purchased through
Email: customerservice@azureonline.com azuremagazine.com/subscribe
Website: azuremagazine.com/subscribe
By mail: Azure Magazine, Subscriber Services, Newsstand
PO Box 1211, Station K, Toronto, ON Canada M4P 3E4 For information about Azure magazine on newsstands in
Allow 8 to 10 weeks for delivery or for address changes Canada, call (416) 203-9674.

Previous Issues Canada Post

Print-format issues of Azure are available for delivery in Canada, PM 40048073. Send undeliverable Canadian copies,
the U.S. and internationally. Orders may be placed through address changes and subscription orders to:
shop.azuremagazine.com. Past digital issues are available Azure Magazine, PO Box 1211, Station K, Toronto, ON
through zinio.com Canada M4P 3E4

Mailing Lists US Postal Service

We occasionally make our subscribers’ names available to USPS 014-112. Published by AZURE Publishing Inc.,
companies whose products or services may be of interest. U.S. Office of Publication c/o Adrienne and Associates,
To be excluded from these mailings, please send your request, 866 Humboldt Pkwy., Buffalo, NY 14211. Periodicals
with a copy of your subscription mailing label, to: Azure, postage paid at Buffalo, NY. U.S. POSTMASTER: Send

647.360.7923
213 Sterling Rd., Suite 206, Toronto, ON Canada M6R 2B2 address changes to: AZURE Publishing Inc., PO Box 1014,
Email: customerservice@azureonline.com Niagara Falls, NY 14304-9803

info@colombodesignamerica.com We acknowledge the support of the Azure is published by:

www.colombodesignamerica.com
Ontario Creates Magazine Fund. AZURE Publishing Inc.
213 Sterling Rd., Suite 206
Azure is a member of Magazines Canada. Toronto, ON Canada M6R 2B2

Showrooms:
Indexed by Design and Applied Arts Index (DAAI). Tel: (416) 203-9674, Fax: (416) 203-9842
Email: azure@azureonline.com

New York • Toronto • Montreal • Vancouver

Member of the Canadian Circulations
Audit Board
Printed by Flash Reproductions using renewable energy.
Online: azuremagazine.com
ISSN 0829-982X
All rights reserved. Any reproduction of the contents
without written authorization from the publisher is strictly
prohibited. The publisher cannot be held responsible for
loss of, or damage to, unsolicited materials.

Azure is a registered trademark of AZURE Publishing Inc.

Registered United States Patent and Trademark Office.
Printed in Canada
© 2020 AZURE Publishing Inc.

Made in Italy
 BLANCO RIVANA
KITCHEN FAUCET

Burlington
Toronto
BLANCO IKON
SILGRANIT® SINK

Winnipeg
Brandon
Saskatoon
Calgary
Edmonton
Kamloops
Vancouver
Penticton

Bringing homes to life robinsonco.ca

From the Editor

The Promise of
Uncertainty
It’s easy to forget, in the immediate trauma of events such as COVID-19, that history
has a way of sneaking up on us. Major changes rarely come with warnings, much less
the assurance that the world as we know it will go on. But go on it does, even if it’s in
ways that are unimaginable beforehand.
Prior to 9/11, for instance, the thought of removing your shoes to get through airport
security or of limiting the amount of liquids you can bring aboard an airplane would
have seemed ludicrous to most travellers — until, of course, it didn’t. Implemented
almost overnight, such previously inconceivable protocols are now a commonplace
part of air travel. One of the main differences between our current situation and the
aftermath of a terrorist attack or an earthquake is the slow-motion nature of what
we’ve been going through.
For some people, lockdown hasn’t necessarily instilled clarity. “It’s just impossible
right now to say how” the dining scene in New York City and elsewhere will be affect-
ed by the pandemic, the acclaimed restaurateur Keith McNally, a 40-year veteran of
his industry, told Eater back in April. Others, however, have embraced the unknown
more concretely, seeing in it opportunity. Many in this latter camp, I am happy to
report, are architects and designers.
“From now on, technology should be used to support sustainability and health
the same way that an analog solution would. It should not be used merely as a
gadget,” Dutch architect Ben van Berkel, co-founder of Amsterdam-based UNStudio,
told Azure when we asked him for his take on post-pandemic design. While van
Berkel’s opinion was solicited, many others were gleaned after the designers
reached out to us, their insights all the more inspiring for the enthusiasm behind
them. Canadian architect Paul Sapounzi, for one, was eager to share his ideas for
COVID-proofing schools; the esteemed Manhattan-based hospitality designer Adam
Tihany, meanwhile, hopes that his flexible barrier designs will once again give diners
a sense of security, thereby providing some relief for beleaguered restaurateurs.
All of these ideas and much more have been collected in our feature on what
post-COVID-19 architecture and design could potentially look like, “The Views from
Here,” starting on page 64. It’s complemented by an exclusive essay by Talitha Liu
and Lexi Tsien of Brooklyn studio Soft-Firm on the future of work, which, tellingly, may
still include physical offices — or at least the trappings of them (see page 80).
To be sure, pivots and adaptations of the kind proposed by our experts will be
easier for some cities and sectors (i.e., the larger, nimbler and wealthier ones) than
those without the same resources or resilience. As Montreal architects Marc Blouin
and Catherine Orzes, who have worked for many years in Canada’s North, also
suggest in “The Views from Here,” the Inuit communities who call that region home
have long been flexible because they’ve had to be; their geographic remoteness
and the severity of the climate have dictated it.
It may be a good thing (and no coincidence) that the pandemic has coincided
with a reigniting of the Black Lives Matter movement in the U.S. and around the
world. Their confluence is a reminder, if we needed one, that achieving healthy,
sustainable societies is impossible without a concomitant dedication to justice
for everyone — and that this also holds opportunity.

Danny Sinopoli, Editor

 Toronto Showroom
0QFOJOH
0DU


1390 Dufferin Street

Toronto, ON M6G 2H3
Canada
416.688.9562

Alya Executive
by Lievore Altherr Molina

Status
by Estudio Andreu
Contributors

Montalba Architects’
2020 expansion of
Headspace’s offices in
Santa Monica involved
the transformation of
a former parking area
into a sprawling outdoor
courtyard connected to
the interior by a glazed
bifold door.

What impact
will the
COVID-19
pandemic
have on office
design?
TALITHA LIU
Co-writer, “The Office as
September We Knew It No Longer
The Workspace Issue Exists” (page 80)
I’m really interested to

We Asked... see the ways in which

outdoor and public space
will become important.
On an urban scale,
we’ll have to adapt by
prioritizing public space
What technology is set to shape how we work? over development. On the
LEXI TSIEN
individual and corporate
Co-writer, “The Office as We Knew It No Longer Exists” (page 80)
scale, I hope that we
I think the TikTok generation will create some new technologies for collective
focus on developing ways
learning that upgrade Zoom. Social media in general will continue to blur
of coexisting in these
what work is, how it is organized and the production of value. The office as
communal environments
an architectural typology is going to be much more informal — more a place
and contributing to public
for social connection than a place for you to be supervised.
infrastructure. Imagine if
our conference rooms
[such as the one pictured
What was the most memorable part of your
here] were all outside?
assignment?
PHOTO BY KEVIN SCOTT (HEADSPACE)

MAXIME BROUILLET
Photographer, “Service with a Style” (page 76)
Capturing the CO-Sol offices by Toronto studio Uufie was a challenge. Not
only was this a unique space in a somewhat standard office building, but it was
also my first time shooting with the firm. I worked to convey its approach for
this specific project, the sense of subtlety and the rich play of reflection in the
minimalist space.

022 _ _SEPT 2020

 KEILHAUER FOR AZURE

Closing the Loop

Keilhauer’s holistic — and humanist — sustainable ethos
In the boardroom, the Swurve conference chair is distinguished
by its light, elegantly sinuous form. But while the graceful chair
boasts a standout design, its sustainable features are equally
compelling. A completely carbon-neutral product, Swurve is a
marquee achievement for Keilhauer, representing the culmination
of a decades-long investment in sustainable design, and proof
positive that the leading North American manufacturer isn’t
resting on its laurels.
Throughout its almost 40-year history, Keilhauer has consistently
pioneered environmentally conscious manufacturing. “Keilhauer
has been a design activist from its start in 1981,” says president
Mike Keilhauer, “and we are constantly working toward our goal of
closed-loop manufacturing — a process in which all materials are
recycled back into the system.”
With the ultimate target of re-using every material and producing
zero waste, the company’s operations are routinely refined. Between
2014 and 2019, for example, Keilhauer recorded 11 per cent reduc-
tions in both greenhouse gas emissions and energy use, along with
an average 87 per cent success rate in waste diversion across all
facilities. Keilhauer has successfully maintained a long-term com-
mitment to eliminate all waste water in manufacturing and send emphasis on local vendors and materials — including FSC certified
nothing to landfills. All the while, 100 per cent of its electricity usage wood — contributes to a reduction in the carbon costs of trans-
is offset by renewable energy credits. portation and raw materials.
From manufacturing operations and raw materials procurement This holistic approach also centres around human well-being.
to packaging and shipping, every step of the process is carefully “Environmental health and human health are inextricably linked,”
considered. It’s an approach that’s borne out in some of the industry’s says Josephine Abate, Keilhauer’s sustainability officer. A long-
most consciously designed products. standing mandate to eliminate the use of all harmful “Red List”
While Swurve represents Keilhauer’s first completely carbon- products has already ushered in products like Sky stools, which are
neutral offering, the company’s portfolio is a testament to sustain- fabricated with a carefully specified safe chromium and are 100 per
able principles. Consider the Tom task chair, which is supported cent Red List compliant.
by a product take-back program that allows chairs at the end of At Keilhauer’s Toronto production facility, this commitment to
their life cycle to be shipped back to Keilhauer for disassembly and health, safety and sustainability steers day-to-day operations.
recycling. Recycled materials also constitute up to 60 per cent of A seven-time recipient of Canada’s Greenest Employer, Keilhauer
each Doko pouffe, while Keilhauer’s fabric-cutting and pattern- has an eco-centred ethos that translates into a culture prioritizing
matching practices minimize waste across product lines. A growing health, safety and environmental consciousness, along with a com-
pany-wide profit-sharing program to ensure equity and fairness.
“We have employees who have been with the company for 10, 20,
30 years,” says Abate, highlighting the workplace bonds nurtured
since the company’s founding. And while the goal of closed-loop
manufacturing requires expansive — and innovative — thinking,
Keilhauer’s philosophy is built on the simple understanding that
sustainability starts with people. keilhauer.com

The Swurve chair

(far left), Sky
stools (top) and
Doko pouffes (left)
epitomize Keilhauer’s
sustainable approach.

Silver Linings
Ciot embraces Microban technology,
making for exceptionally hygienic
(and elegant) porcelain stoneware
Don’t touch that. At the outset of the COVID-19
pandemic, every interaction suddenly became a
potential vector of transmission — and of height-
ened anxiety. Fortunately, not all surfaces are
created equal. Ceramic and porcelain are inherently
bacteriostatic, exceptionally non-absorbent and
easy-to-clean materials, and they’ve been used to
create hygienic and durable spaces for centuries.
But that’s no excuse to stop evolving. For Ciot,
the intrinsic properties of porcelain and ceramic
tiles are a springboard for innovation in new tech-
nologies that supplement their natural qualities.
Enter Microban. A marquee addition to Ciot’s
extensive porcelain and ceramic portfolio, the
antibacterial technology has recently been
introduced to a number of its striking collections.
Microban integrates ceramics with silver ions
during the firing process to embed a powerful —
CIOT FOR AZURE
and permanent — protective shield directly into
the structure of the tile at a temperature of 1,200
degrees Celsius. Unlike films or surface treat-
ments, Microban does not wear away and is equally
effective with or without sunlight and UV rays.
While the silver ions kill up to 99.9 per cent of all
bacteria by blocking their cellular metabolism,
they’re also completely safe for people and animals.
Ciot’s Microban collections, including standouts
Nextone and Absolute Slimtech, possess an
aesthetic refinement that belies their technical
sophistication. Manufactured by Lea Ceramiche,
the high-tech Italian industry leader, these versatile
porcelain tiles are well-suited to both indoor and
outdoor use in commercial and residential contexts
and are available in a variety of formats.
True to its name, Absolute Slimtech harnesses
advanced fabrication techniques to create rich
Ciot’s antibacterial
Microban collections
include Lea Ceramiche’s
monochrome Absolute
Slimtech (left) and stone-
effect Nextone (below).
finishes in extremely thin (5.5-millimetre) large-
scale slabs of up to 100 by 300 centimetres.
Available in two pure, pared-down tones — Total
White and Total Black — the elegant tiles can be
manufactured for everything from exterior wall
applications and interior floors and walls to counter
surfaces and vanities, taking full advantage of
Microban’s antibacterial properties.
Offered in four neutral colours that deftly
replicate the tones and textures of natural stone,
Nextone tiles combine Microban technology with
a soothing, natural appearance. Designed to stand
up to high-traffic areas indoors and out, the tiles
can be installed on walls and floors to create a
sophisticated backdrop for any space. The result
is pleasing to the eye and safe to the touch. 
ciot.com
 First +
Foremost
People, projects and products you need to know about now

Torii
Riffing on the simple form and refined lines of torii, the
entrance gates common at Shinto shrines throughout Japan,
designer Oki Sato has translated this post-and-lintel structure
into an interlocking metal frame that defines his latest collec-
sculptural quality. The high- and low-back versions of the
armchair (shown) feature vertical quilting and piping drawn
from traditional luggage-making techniques, which combine
with the bronze-varnished legs (inspired in part by the kigumi

Chair tion for Minotti. The Nendo founder’s aptly named Torii series
is a flexible and sprawling family of furnishings that includes
coffee tables, consoles, sofas, ottomans, dining chairs and
armchairs, to name of few of the many options.
Complementing the unique horizontal supports, a curving
backrest gives the line’s seating elements their unique
method of wood joinery) to effortlessly marry Italian and
Japanese craftsmanship.
Typical of the manufacturer, each piece is available in an
almost endless selection of high-quality sartorial fabrics, as
well as leather, upholstery or ash options for the base. 
_EVAN PAVKA minotti.com, nendo.jp

SEPT 2020_ _ 027

Insight
5 Things We
Learned from
MUT Design
THE KEY TO SUCCESS FOR THE VALENCIA-BASED STUDIO?
STAY SMALL, GO SLOW AND RELISH THE PROCESS
AS TOLD TO _Evan Pavka
Sitting among the 12 new prototypes
prominently displayed within MUT
Design’s al fresco iteration of the annual
Das Haus installation at IMM Cologne
this January, the influence of the Spanish
vernacular resounded. Since establish-
ing their Valencia-based practice in
2010, co-founders Alberto Sánchez
and Eduardo Villalón have garnered
widespread admiration for graphically
reimagining quotidian objects, acquiring
a growing list of clients from their native
Spain to Italy to Japan. As Sánchez and
028 _ _SEPT 2020
MUT designer Pola Knabe told Azure
during the fair, this success has been
informed as much by their Mediterranean
roots and proximity to local manufac-
turers as by their uncompromising com-
mitment to an unhurried, confidently
open-ended approach. “It’s never
done!” Sánchez says of the firm’s latest
product for German manufacturer Pulpo.
“I’m already thinking about changing
the dimensions.”
Here are a few of the hallmarks of
the MUT method.
1 Turn mandates on
their head.
When companies want to work with us,
they typically understand our creativity.
They may say, “I need a chair,” but
often don’t specify what kind of chair.
If we get a brief, our process begins
with research. But sometimes, we
may take a turn in another direction as
something far more interesting might
emerge. In that case, we try to convince
the client of our design instead.
2 Keep it small.
For us, it’s really important that the
manufacturers we work with are not
huge. We are much more comfortable
dealing with smaller companies or
family-run businesses, where we can
control the process and have greater
interpersonal communication. With
larger manufacturers, this can be quite
difficult and the result can be a product
we are not happy with. Our studio is
also very small: five of us all working
together on the same projects. Though
each of us covers certain fields, we
always try to find time to sit together
and share our thoughts.
3 Do what’s best for
your design.
Though we launched the Aspa tables
with Pulpo this year, we actually began
working on the product with another
company. But it was stuck, as they
weren’t as experienced in handling
glass. We really liked the design and
this idea that, when you are in different
Eduardo Villalón (far left)
and Alberto Sánchez (right)
pose with their Armadillo chair
for Expormim, launched at
IMM Cologne 2020 alongside
the Roll chair (top) and Aspa
table (above).
positions, you are seeing different
intensities of colour due to the planes
overlapping. Eventually, we called the
manufacturer and asked if we could sell
the concept. You have to do what’s best
for your design.
4 Take it slow.
Companies normally ask us to complete
a design proposal in one month, but
we always try to negotiate more time.
Generally, we prefer to work with a very
strong concept. We take our time, think
and sometimes stop the project entirely,
revisiting it again weeks later to see if
we like what we’ve made. We really love
to stay in the process.
5 Successful products
require balance.
For us, the concept, the design and the
functionality of a product should all have
the same importance. We want to create
something beautiful, of course, but not
completely useless. Our Roll chair, for
example, does not look like a typical
indoor seat. Roll is more a conceptual
version of a chair. But it’s comfortable to
sit on; it’s stackable, small and does not
PHOTO BY YOSIGO (PORTRAIT)
take up a lot of space. It’s always a
balance between art and functionality.
We want to be recognizable by our
designs and not for a kind of aesthetic. 
mutdesign.com
Landscape
Wedged between a highway
and a canal, the eastern part
of Jiangyin’s new raised
pedestrian loop floats above
a linear north–south park.
New Twists
and Turns
A YANGTZE RIVER PORT’S SNAKING
ELEVATED “GREENWAY” CONNECTS
DISPARATE PARKS ACROSS THE CITY
WORDS _Danny Sinopoli
PHOTOS _Pavel Shubskiy
Before COVID-19 had the unexpected consequence of
improving global air quality by reducing car, plane and
other traffic worldwide, many of China’s urban centres
struggled with serious air pollution, a scourge that civic
authorities there have tried to counter by investing in
health-enhancing infrastructure. One such project —
the Jiangyin Greenway in the Yangtze River port city
of the same name — is intended to knit together a
quartet of existing green zones via a walkable raised
loop comprised of four “clearly identifiable segments.”
The northern segment, which was realized first,
passes through Jiangyin’s docklands parks. The seg-
ment shown here — the eastern part of the loop —
meanders to the river and was finished late last year.
As envisioned by its designers — a team from the
Australian–Chinese practice BAU, which has offices
in Melbourne and Shanghai — this amenity-studded,
4,500-metre-long stretch is “more than just an elevated
walkway.” Its twisting form, BAU explains, is essentially
a “scaled model” of the Yangtze itself, “with the cities
and tributaries along its length becoming plazas and
balconies” on the greenway. The sinuous design also
contrasts dynamically with the linear north–south park
it traverses — a plot of land that, despite providing
030 _ _SEPT 2020
_Jiangyin Greenway _Jiangyin, China _BAU (Brearley Architects & Urbanists)
The meandering
steel structure widens
at select locations,
beckoning users with
panoramic views.
Topped with a
coloured bituminous
concrete screed, the
pathway’s earthy red
surface pops against
the greenery below.
much-needed green space, also became “a frustrating
barrier to east–west circulation.” Now, however, BAU’s
intervention not only floats dramatically above the park
(up to 6.6 metres at its tallest point), but “stitches”
itself to its setting through a variety of stairs and ramps,
providing new shortcuts, making the park safer and
significantly animating the older facility.
But the greenway is a destination as much as
a corridor. Made of prefab steel and surfaced with a
rosy-toned bituminous concrete screed, the structure
incorporates, among other attractions, an amphitheatre
for watching performances or just relaxing, a raised
plaza containing “permanent sound instruments” that
all are welcome to play and a string of viewing plat-
forms for taking in lakes and canals. Arbours awaiting
swathes of greenery and a succession of vibrantly
coloured truss and suspension bridges also punctuate
its path, while sound walls block noise from a nearby
freeway to ensure that visitors enjoy it all peacefully.
“Infrastructure of this scale has a responsibility,”
says BAU, “to create meaningful places in the city.” ABOVE: Several bridges
On this front, its greenway addition more than delivers, with sculptural trusses dot
this stretch, which weaves
placing Jiangyin on the path — literally — to a greener over roads and waterways
future. bau.com.au as well as the park.
 Visit our website: www.downsviewkitchens.com

The Downsview cabinetry collection is custom crafted in North America and available exclusively through select kitchen design showrooms
U.S.A. - SCOTTSDALE, AZ Italian Design Concepts (480) 534-3970 - BEVERLY HILLS, CA Kitchen Studio Los Angeles (310) 858-1008 - COSTA MESA, CA E. B. Kitchen & Bath (714) 545-0417
MONTEREY, CA Monterey Kitchens (831) 372-3909 - SAN DIEGO (Solana Beach), CA European Kitchen (858) 792-1542 - SAN FRANCISCO (Bay Area), CA Atherton Kitchens (650) 369-1794 - SANTA ROSA, CA Gallery 41 Design
(707) 615-6777 - DENVER, CO Exquisite Kitchen Design (303) 282-0382 - STAMFORD/NEW CANAAN, CT Deane Inc. (203) 327-7008 - MIAMI (Dania at DCOTA), FL Downsview Kitchens (954) 927-1100
PALM BEACH (Juno Beach), FL Downsview Kitchens (561) 799-7700 - NAPLES, FL Elite Cabinetry (239) 262-1144 - ATLANTA, GA Design Galleria (404) 261-0111 - HONOLULU, HI Details International (808) 521-7424
CHICAGO, IL nuHaus (312) 595-1330 - INDIANAPOLIS, IN Conceptual Kitchens (317) 846-2090 - NEW ORLEANS (Harahan), LA Classic Cupboards Inc. (504) 734-9088 - BOSTON, MA Downsview Kitchens (857) 317-3320
BIRMINGHAM, MI Bolyard Design Center (248) 644-3636 - MINNEAPOLIS, MN North Star Kitchens, LLC (612) 375-9533 - CHARLOTTE, NC Design Gaps, Inc. (704) 965-2400
SHORT HILLS (Millburn), NJ Short Hills Design Studio (973) 467-1818 - MANHASSET, NY The Breakfast Room, Ltd (516) 365-8500 - NEW YORK, NY Euro Concepts, Ltd (212) 688-9300 - PHILADELPHIA, PA Joanne Hudson Associates (215) 568-5501
CHARLESTON, SC Design Gaps, Inc. (843) 408-7600 - DALLAS, TX Redstone Kitchens & Baths (214) 368-5151 - SAN ANTONIO/AUSTIN, TX Palmer Todd, Inc. (210) 341-3396
CANADA - CALGARY, AB Empire Kitchen & Bath (403) 252-2458 - VANCOUVER, BC Living Environments Design (604) 685-5823 - OTTAWA, ON Astro Design Centre (613) 749-1902
TORONTO (GTA), ON Downsview Kitchens (416) 481-5101 - TORONTO, ON Yorkville Design Centre (416) 922-6620 - CARIBBEAN - BAHAMAS, BS Nassau (242) 327-7606

DOWNSVIEW KITCHENS 2635 Rena Road, Mississauga, Ontario, Canada L4T 1G6 Telephone (905) 677-9354 Fax (905) 677-5776
Trendspotting _Milan

Click
Spanish manufacturer
Sancal’s first flat-pack

Feats seating range takes its

name from the car seat–
inspired mechanism that
Telares
Celebrating the tensions between warp and weft, the

of Clay
Telares rug by Nanimarquina is handwoven from Afghan
allows its various mod-
wool using techniques common in kilims and dhurries.
ules — from armrests to
This rustic, carmine-coloured yarn version highlights the
tables — to click into
collection’s serious level of craft. nanimarquina.com
place. The system comes
MANY OF MILAN’S VIRTUAL in a variety of textiles
DEBUTS WERE TERRACOTTA IN and leathers, including
TONE, BRINGING HIGH DESIGN this muted coral. 
DOWN TO EARTH sancal.com
WORDS _Elizabeth Pagliacolo
Murano
Though goblets made of
Murano glass sparked the
idea for designer Omri
Revesz’s coffee tables,
it’s the line’s material
makeup that provides
its earthy texture. The
proprietary Cimento —
a compound made with
90 per cent mineral
aggregates and a cement
binder — allows for full
colour saturation in more
than 30 hues. 
cimentocollection.com

Quintet
The irregular pentagonal
shape of its top gives this
dynamic cocktail table
by Maurizio Manzoni for
Ruff Roche Bobois its name.
The chunky volumes of Patricia Urquiola’s latest Available in four sizes
creation for Moroso form a tribute to the art of Basque and five finishes, each
abstract sculptor Eduardo Chillida. Ruff’s wide armrests features a lacquered
perch on the sides of the seat and wrap firmly around steel base in black. 
it with the help of a single joint. moroso.it roche-bobois.com

032 _ _SEPT 2020

 _New York

Groovy, Liberty
Atelier Alain Ellouz’s latest

Baby addition to the Infinity

lighting series is a playful
trio dubbed Liberty. Each
of the three NYCxDesign
NEW YORK DESIGN WEEK MAY Award–winning pendants
HAVE BEEN CANCELLED, BUT features a leather-wrapped
THESE TUBULAR RELEASES steel suspension system
WERE ROLLED OUT ANYWAY Rose Sofa and two bronze or brass
WORDS _Evan Pavka Four plush cylinders comprise French–Italian designer rings that hold a serpen-
Joris Poggioli’s four-metre-long, limited-edition lounger. tine alabaster diffuser. 
Shown here wrapped in ribbed tone-on-tone fabric, the atelier-alain-ellouz.com
design comes in a number of customizable sizes and
materials. jorispoggioli.com

Ribbon Chair
Composed of layered
bands of extruded alu-
minum, the Ribbon Chair
by Los Angeles studio
Laun is as flexible as it
is charming. Offered in a
range of custom powder-
coated hues (such as the
rosy shade shown) and
sizes, the indoor–outdoor
seat was conceived by
Elio Lamps
For their first lighting collection, designers Utharaa
designers Rachel Bullock
Zacharias and Palaash Chaudhary of Soft-Geometry, based
and Molly Purnell with a
in San Jose, California, stacked a spherical diffuser atop a
matching stool that also
base of cast resin tubes to create a pair of luminaires that
doubles as a side table. 
emit a gentle glow whether off or on. soft-geometry.com
launlosangeles.com

SEPT 2020_ _ 033

Trendspotting _NeoCon

Olli
Olli is a flexible power and data beam system that can be reconfigured in minutes.
Each of the components — pivoting and hanging screens, side and meeting
tables, stackable storage caddies, coat racks, planters — features the same
slip-slot connection to make swapping in and out quick and easy. A palette of
fresh colours and finishes suits a range of contexts. madebypair.com

Soft Twist Chair

For this sculptural seat

Launches
by Patkau Architects and
Nienkämper, a special
process was developed
to press two layers of
FROM THE NEOCON THAT NEVER WAS, birch plywood into a sin-
PLAYFUL LINES SHOW HOW MUCH gular curved shell. A trio
LIGHTER OFFICES CAN LOOK of minimal stainless-steel

WORDS _Kendra Jackson hairpin legs complements

its inherent elegance. 
nienkamper.com

Screen
One of three new two-
tone woven upholstery
fabrics, Screen mixes
negative and positive
space through its
medium-scale raised grid
patterning. Intended for
modular furniture and ver-
tical panel applications, Sly Occasional Tables
the durable polyester has Playing a trick on the eye, Sly’s surfaces — available in laminate, veneer,
a soft, cottony texture linoleum or back-painted glass — appear to tilt when in fact they sit
and comes in nine colour- perfectly level. The powder-coated metal rim works with an exposed
ways. wolfgordon.com edge to create the illusion of uplift. studiotk.com

034 _ _SEPT 2020

 Rimadesio Modulor wall panelling system,
Self bold suspended cabinets.
Design Giuseppe Bavuso
rimadesio.com

Resident Manager North America

Andrea Romano +1 917 860 5839 info.usa@rimadesio.it
Profile

LEFT: Sydney-based ABOVE: A separate café,

designer Rebecca
Richwhite, who trained
at the Architectural
Association, recently
renovated the front of
house at The Old Vic in
London, including the
addition of a downlit lobby
bar with a red leather front.
bar, lounge and occasional
overflow space for bath-
room queues at the theatre,
Penny features a number
of mobile elements to
provide flexibility. The
crimson glass and steel
screen acts as an anchor
point in the small space.

Staying “I am inspired by nature,” says New Zealand–born designer Rebecca Richwhite.

“Much of my childhood was spent engaging with the land.” That earthiness is
PHOTOS BY DAVID JENSEN (PORTRAIT AND PENNY)

reflected in her revamp of London’s The Old Vic Theatre, unveiled late last year.

Grounded
KNOWN FOR HER REFINED YET EARTHY
PALETTES, DESIGNER REBECCA RICHWHITE
CRAFTS DISTINCTLY INCLUSIVE INTERIORS
WORDS _Yuki Sumner
In 2018, the theatre’s executive director, Kate Varah, commissioned the relatively
unknown interior designer to reimagine the iconic space. Drawn to Richwhite’s work
for Caravan, a popular chain of restaurants defined by their natural palettes, Varah
desired something similar: “inclusive and unintimidating.”
During the Old Vic project’s early phases, a host of famous performers had been
lined up for the venue’s “More Loos” funding campaign to create gender-inclusive
bathrooms (incredibly, there were only 12 cubicles catering to women in the entire
1,000-seat theatre, leading to famously long queues). In the newly configured

036 _ _SEPT 2020

 lavatories, which double the former capacity, Richwhite devised a “textural feast” of
gritty, wine-coloured clay walls set against a band of glossy “Old Vic Red” paint, a tone
made especially for the project. These rich crimson hues recur throughout the renova-
tion, from the red carpet framing the dramatic recessed lobby bar to the velvet drape
hanging behind the new box office. To create the curtain, the designer used materials
inspired by old fabrics and number plates from redundant theatre seats.
Prior to establishing her own architecture and interior design studio 10 years ago to
explore the “tactile and atmospheric,” Richwhite studied architecture in London, working
in the offices of such renowned practitioners as Enric Miralles and Future Systems
before taking her self-described “detour.” It was while designing temporary pop-up
structures for Frieze Art Fair that the designer, who is currently based in Sydney,
PHOTO BY JOHN CAREY (CARAVAN CITY)

Australia, was drawn to the expediency and directness often lacking in architecture.
Her current project — the Green House residence in Queenstown, New Zealand,
where she spent much of her childhood — is a fitting next step for a designer who
takes a great deal of her inspiration from land and landscapes. “I love the idea that TOP: London restaurant ABOVE: For Caravan City,
chain Caravan features Richwhite paired crisp
a project can continue to grow and improve with age,” she says, “with a certain earthy tones and, in its metals with cobbled paving
unpredictability and looseness that one cannot achieve from building alone.”  Fitzrovia location, a custom stones to reflect the
rebeccarichwhite.com brick screen. district’s historic roots.

SEPT 2020_ _ 037

Process
Rock
Solid
ANDLIGHT’S NEW FIXTURES MIX
ARTISANAL GLASS-BLOWING WITH
TECHNICAL PRECISION
WORDS _Ashley McLellan
As a child, Lukas Peet of Vancouver lighting outfit
ANDlight was fascinated by river rocks. Decades
later, the designer set out to create a collection of
glowing glass luminaires that draw on the simplicity,
beauty and sense of wonder embedded in these
organic forms.
“As a company and as a designer, we had
never worked with glass before,” Peet says of the
undertaking. This led him to a local glass-blower,
from whom he gleaned an understanding of how
the molten material is formed and what type of
alterations are possible during production. For Peet,
working closely with craftspeople “is an opportunity
038 _ _SEPT 2020
LEFT: Available in pearl,
travertine, slate and
citrine glass in a number
of arrangements, Lukas
Peet’s Pebble collection
is his most recent addition
to ANDlight’s growing
portfolio.
for a designer like me to manipulate or alter the
process and potentially achieve a different outcome
or another effect.”
The next hurdle was scaling up from the initial
prototypes to the definable four shapes of the com-
pleted series, called Pebble. “That was the biggest
challenge,” Peet says, describing how he went from
“working one-on-one with a person locally, with a lot
of freedom,” to ensuring the consistency required to
make “not just five of each piece, but 50 or 100.”
Bringing together the artisanal process of glass-
blowing with the technical precision inherent in
producing the LED modules and aluminum connec-
tors only complicated matters further. The lighting
used for Pebble is engineered specifically for the
product, functioning in a variety of settings while
creating an internal radiance that “accentuates the
form and its subtleties” rather than illuminating
the entire glass diffuser. And though the product can
be wall-mounted as a sconce, Peet conceived the
fixtures to thread together via a metallic fastener,
PHOTOS COURTESY OF ANDLIGHT
creating a unique stacked arrangement when hung
as a pendant. Unlike the slightly lax parameters for
the blown glass, this connection had to be exact. TOP AND MIDDLE: The ABOVE: Each Pebble
The final result is an elegant design suggestive of designer collaborated with fixture boasts a custom
a local glass-blower to engineered LED board
bespoke work, a careful balance of thoughtful study achieve the unique shapes that allows for a plethora
and playful discovery. andlight.ca of the final luminaires. of configurations.
 Mother Nature
is coming back to
work with you.

Bring Stunning Custom Green Space Indoors

100% Natural • Controls Room Acoustics • Nature Calms the Soul

QuietEarthMoss.com
 ELERA IN-LINE + ADT BASE, OPUS VERISMO BATHTUB

A WOR LD O F P O S SIB I L I T IE S FOR YOU R B ATHR OO M

 _Summit House _London, England _Note Design Studio Site Visit

Furnishings by Note
Design Studio, Chris
Martin, Andreas Engesvik
and others dot Summit
House’s ground-floor
lounge, made up of roomy,
well-delineated zones.

House
Calls
IN LONDON, NOTE DESIGN STUDIO
TURNS AN EXPANSIVE HERITAGE
BUILDING INTO A CO-WORKING
FACILITY WITH RESIDENTIAL FLAIR
WORDS _Giovanna Dunmall
PHOTOS _Michael Sinclair
Site Visit _Summit House _London, England _Note Design Studio

In the lobby, the graphic

stepped feature framing
the reception desk is
complemented by custom
terrazzo flooring, which
provides a bold counterpoint
to the muted tones of a
nearby seating area (below).

When the designers at Stockholm’s Note Design

Studio first saw the 1920s-era building that The Office
Group (TOG) had asked them to transform into a new
co-working space, they were initially struck by its
distinctive features. Upon entering the edifice —
called Summit House — near London’s Holborn subway
station, however, it was a different story. “It had all
been renovated,” recalls designer Charlotte Ackemar,
who worked on the refurbishment. “It was basically
a white box. It was like its soul was missing.”
The design team looked to revive its former spirit by
conceiving a sophisticated take on the Swedish Grace
movement, a pre-functionalist style of modernism
developed in the Nordic country and akin to art deco.
At Summit House, where the project’s scope stretched
across five storeys and nearly 4,200 square metres,
this manifests as a bold and imaginative use of shapes Another striking touch is provided by the sculptural tiered elements found
and colours. Different shades of green in the meeting throughout the project. There’s the stepped architectural framework that envelops
rooms, for instance, transition into caramel-coloured the reception desk, used again to soften and add interest to the ceiling of the ball-
tones in the plant-filled ground-floor work area and room (a large co-working lounge on the ground floor). Here, the tiered feature also
along the panelled corridors on all five office floors. doubles as a clever way to elegantly conceal mechanical systems.
Ridges and modules, meanwhile, are repeated on table “We applied materials such as different mirrors to play the role of art, creating a
bases and walls, while the custom black, cream and timeless feeling while bringing richness and texture to the spaces,” Ackemar adds.
terracotta terrazzo in the reception area contrasts with “The interiors have this soft atmosphere to them.” In work-hard, play-hard London,
the space’s linear architecture. it’s a welcome and effective respite. notedesignstudio.se, theofficegroup.com

042 _ _SEPT 2020

©2020 Snaidero USA

E02 | Elegante Bespoke Collection | Made in Italy

Find a showroom near you, or dealership opportunities
1.877.762.4337 | Exclusively distributed by snaidero-usa.com
Groundbreaker _Oklahoma Contemporary Arts Center _Oklahoma City, Oklahoma

Into the Fold

ACCORDING TO THE ARCHITECT, OKLAHOMA
CITY’S EVOCATIVE NEW ARTS CENTRE
COULD “ONLY BELONG HERE”
WORDS _Tim McKeough
When Rand Elliott was tapped to design a new PHOTOS _Scott McDonald
home for Oklahoma Contemporary Arts Center,
he was intent on conceiving a structure that was
uniquely of its place. But rather than looking to the
region’s vernacular, landscape or cowboy past,
the local architect and principal of his eponymous
studio settled on something more ethereal:
Oklahoma City’s wide open sky and radically
unpredictable climate.
“They say the weather here is like riding a bucking
bronco,” Elliott explains, noting that summer-like
sunshine can shift to bowling ball–sized hail within
24 hours. “You either like those huge shifts or you
don’t. But for natives of Oklahoma, it goes with the
territory. I wanted to go beyond the history of the
state — the Dust Bowl, the bombing of 1995 and
the oil and gas swings — to find something that
was more poetic and timeless.”
The resulting concept, dubbed “folding light,”
is an angular, 5,009-square-metre building with
a zigzagging footprint designed to reflect the
region’s changing light conditions, shifting from
gold and blue to violet and pink.
Rising vertically from the ground to the top of
the four-storey structure, breaking only to provide
openings for windows and doors, 16,800 recycled
aluminum fins wrap the exterior and define the
complex. At the southwest corner of the building,
these fins are widely spaced to create the semi-
transparent, full-height “Lantern,” which beckons
passersby from nearby Broadway Avenue when
illuminated. Elsewhere, these features similarly
spread to double as balusters for an elevated
terrace. The components have nine unique profiles
and are bright-dip anodized to reflect light in a
multitude of fashions.
Oklahoma Contemporary’s mission is to serve
as far more than simply a place for exhibiting art.
In addition to housing reconfigurable galleries,
The darting footprint of
the building is designed to stoke community Oklahoma Contemporary
engagement and art production with studios for Arts Center sports a
dance, photography and digital design, a theatre, custom facade of bright-
dip anodized aluminum fins
flexible event spaces and numerous classrooms. A that capture the region’s
separate renovated studio located near train tracks ever-changing weather.

044 _ _SEPT 2020

_Rand Elliott Architects
Groundbreaker _Oklahoma Contemporary Arts Center _Oklahoma City, Oklahoma _Rand Elliott Architects

on the eastern edge of the site is a hands-on maker

space fitted with equipment for producing ceramics
and weaving as well as metal and wood sculpture.
Riffing on Elliott’s concept of light, the institution’s
curators organized a blockbuster exhibition for the
opening, entitled “Bright Golden Haze” (a quote taken
from the musical Oklahoma!) and featuring works by
international heavyweights Olafur Eliasson, Teresita
Fernández, Robert Irwin, James Turrell and Leo Villareal.
The team completed every punch-list item, hung the
art and set their opening date for March 13. Then the
coronavirus pandemic struck.
“The day we were supposed to launch with a ABOVE: Overlooking the
thousand-person celebration, we had to close our capital city, the dance
doors” and delay the opening by months, says artistic studio is among the
centre’s many public-
director Jeremiah Davis. As the world eventually gets oriented spaces aimed
back to normal, he hopes that the new creative hub at fostering community.
will serve as “a salve for the community.”
RIGHT: Linear LEDs
Elliott, meanwhile, is confident that the structure emphasize the verticality
captures the Oklahoman spirit, even if momentarily of the dynamic central
closed. “This building wouldn’t be comfortable in Utah, stair, fitted with striated
clear polycarbonate
Iowa or Florida,” he says. “It belongs only here.”  balustrades that reference
randelliottarchitects.com, oklahomacontemporary.org the metallic fins outside.

046 _ _SEPT 2020

 FLEXFORM FOR AZURE
Flexform’s new indoor collections
take the comforts of home to
stylish new heights
What does Made in Italy really mean? As a designation, it makes for a com-
pelling selling point, one that lends new Italian-crafted products the cachet of
the country’s rich design tradition. But for Flexform, these words represent not
only a statement of fact but an ethos. The leading brand, with over a century
of history, has harnessed its Italian design heritage to create a timeless yet
contemporary collection of residential furniture that feels tailor-made for a
moment in history mostly experienced from home.
While post-pandemic reality has given our homes a more pivotal role in day-
to-day life, this considered design approach intuitively responds to longer-term
changes in lifestyle. In bold new pieces by the likes of Carlo Colombo, Antonio
Citterio and Flexform’s in-house Design Center, the elegant and deftly tapered
contours that define Italian design are combined with an unpretentious sensi-
bility that invites kicking back — and settling in.
Case in point: Antonio Citterio’s Romeo sofa. Even viewed from afar, it exudes
comfort. The cloudlike sectional’s goose-down cushions and gently inclined
seats give it an exceptionally inviting presence, its pillowy softness enhanced
by graceful proportions and a slender, minimalist frame. Tapered cast aluminum
feet, meanwhile, lend Romeo an undeniable airiness, while tailored grosgrain
piping outlines the stitching to delicately complement the sofa’s form. In short,
it looks every bit as good as it feels.
A pair of new designs by Carlo Colombo equally epitomizes Flexform’s refined
fusion of high design and everyday functionality. Take the Sveva Soft armchair.
Characterized by a sinuous upholstered shell, Sveva’s sculptural form is paired
 Carlo
Colombo’s
Sveva Soft
armchair.

with an exceptionally soft down-filled seat, along with a

special polymer that ensures both structural support and
comfort. Set on an eye-catching cast aluminum swivel base
(offered with four or five spokes in multiple metallic finishes),
Sveva is available in a range of removable upholstery covers,
as well as a wingback bergère version.
The Sveva sofa dials it up a notch. Like its counterpart,
Colombo’s design is elevated by a sophisticated silhouette,
though its two-seat frame affords it a declarative centrepiece
status. Finished in cowhide, a rigid polyurethane shell is com-
plemented with soft leather-covered cushions, with a variety
of other upholstery options — including fabrics — on offer.
A product of Flexform’s own Design Center, the Ortigia
family of armchairs is a hybrid of artisanal craft and contem-
porary flair. Made entirely of solid ash or Canaletto walnut,
the pared-down frame — which nods to the Italian cabinet-
making tradition — is married with a handwoven cowhide
backrest, as well as a seat that can be upholstered in leather
or fabric. Available with or without armrests and with an
optional footstool, Ortigia is an understated statement piece.
And it’s not just seating. Flexform’s commitment to craft
and comfortable, unpretentious luxury is evident across its
indoor furnishings collections. The Jeremy cabinets, another
Colombo design, showcase clean lines and svelte proportions,
their smoked glass compartments and solid oak finishes
providing an eye-catching contrast. They’re quiet pieces with
Antonio Citterio’s
Romeo sectional sofa. a hint of the spectacular. In other words, it’s signature Italian
design — and signature Flexform. flexform.it

Jeremy cabinet by Carlo Colombo. Ortigia armchair.

NBK TERRART TILES IN CUSTOM COLOURS
ALBION LIBRARY, TORONTO
ARCHITECT: PERKINS + WILL; IMAGE: LISA LOGAN

SOUND SOLUTIONS
INNOVATIVE ARCHITECTURAL PRODUCTS
389 DEERHURST DRIVE BRAMPTON, ONTARIO
TEL: 1.800.667.2776 OR 416.740.0303 WWW.SOUNDSOLUTIONS.CA

Reading
Rainbow
IN A MADRID EXURB, BN ASOCIADOS
ARQUITECTOS CREATES A STRIKING
NET-ZERO LIBRARY CLAD IN CERAMIC
TILES THAT EVOKE THE BOOKS WITHIN
WORDS _Michael Webb
PHOTOS _Roland Halbe
Stacked rows of stylized book spines wrap the sinuous
walls of the Leganés Norte Central Library in a witty
example of architecture parlante. The sign is redundant:
Everyone in the surrounding neighbourhood, a new
development on the southern edge of Madrid, can
guess what’s inside. The outer facade is composed
of 9,126 curved terracotta tiles in 40 different sizes
and 17 hues, integrally coloured and clipped to a metal
frame that’s attached to precast concrete panels 14
Facades
_New Finishes _Pretty PVC _Circadian Curtain Walls
centimetres thick. Behind them is a layer of glass-fibre
insulation, another void and an inner lining of gypsum
board. A lofty glass atrium links the library to the munici-
pal archives — a volume faced in standing-seam zinc
that’s almost moody by comparison.
BN Asociados Arquitectos, the husband-and-
wife team of Silvia Babsky Nadel and Ramón Valls
Navascués, won the job in 2007 by proposing what
would have been Spain’s first net-zero building.
Photovoltaic panels on the roof provide power, while
energy consumption is reduced by the combination
of layers in the walls and natural ventilation. Double-
glazed windows and blinds are operated by sensors
and shaded by louvres on the west side. The Great
Recession halted construction as the building neared
completion, delaying it for eight years. Other sustainable
buildings have since been completed in Spain, but
BN was finally able to realize most of its vision — even
though, as Babsky Nadel jokes, “it took longer to build
Spotlight
EDITOR _Kendra Jackson
than Philip II’s El Escorial palace.”
It’s a much more useful and welcoming amenity
than that chilly monument to absolutism. Though the
village of Leganés is centuries old, it exploded into a
dormitory town for migrant workers in the 1960s. The
library creates a sense of place amid generic housing,
serving as a beacon of culture and a gathering place
for the entire community.
Spain has a long legacy of ceramics, but the
project’s first contractor sourced tiles that broke easily.
The architects switched to NBK in Germany, winnowing
their original selection of 47 tones to 17, including blue
to evoke water and sky, green for the landscaping and
sienna brown for the nearby brick houses and the dusty
Castilian plain. Warmer hues were intermixed with these,
and an algorithm was used to determine the place-
ment of each tile. The abstract patterns of the facade
complement the library’s dynamic forms and attest to
the survival of print in a digital age. bnasociadossa.es
SEPT 2020_ _ 051
Spotlight
Building
Blocks
THESE REALISTIC-LOOKING STONE
IMITATORS ARE AS DURABLE AS
THEY ARE CONVINCING
WORDS _Kendra Jackson
3 LOIRE VALLEY
ROUGHCUT
The irregular surface of
these stone-cast veneers
is achieved by hand-
applying multiple layers of
a concrete and aggregate
blend. The resulting
colourway, similar to
limestone, mixes ivory
and cream with hints of
sand; a roughly cleaved
face lends depth.  no header joint align-
eldoradostone.com
052 _ _SEPT 2020
4 ROMAN MAXIMUS
Riffing on ancient Roman
architectural elements,
these linear bricks come
in a range of colours, from
earthy browns to lighter
creams and sandy tones.
Standard sizes are 9.2
by 4 by 60 centimetres;
six random lengths span
10 to 50 centimetres to
form bond patterns with
ments. glengery.com
1
1 Q_STONE
In Monterrey, Mexico,
architect Mario Bolivar
designed a house with
a jagged profile to refer-
ence its mountainous
surrounding. The exterior
is clad in 1,200 square
metres of Q_Stone by
Provenza, a UV- and
extreme temperature–
resistant porcelain that
mimics the look of natural
quartzite. Five tile sizes
(from 10 by 30 to 30 by
60 centimetres) were
installed to create a varied
and textured effect. 
emilgroup.it
2 TEXTURE TRAVERTINE
Developed using non-
combustible, mineral-
based raw materials, this
2
fibreglass-reinforced
concrete is sustainable
and lightweight, with
13-millimetre-thick panels
and multiple colours,
including Anthracite
(shown). rieder.cc
4
 _Facades

PATTERN READY
First applied by BNIM Architects to
the building housing Johnson County

Pane Community College’s Fine Arts & Design

Studios in Kansas, Lumi Frit specialty
exterior glass can be customized with a

Relief
laminated and etched surface — in this
case, an array of fine white dots that mini-
mizes reflections and is visible to birds.
An endless range of patterns can be
THE LATEST GLAZING OPTIONS CAN BE adhered to the panels, which measure
TAILORED TO ANY PURPOSE, FROM STRICT up to 2.13 by 4.19 metres and are easily
SOLAR CONTROL TO AVIAN SAFETY installed using the brand’s clip-in venti-

WORDS _Kendra Jackson lated glass cladding system. 

bendheim.com

↑ CLEAN LINES
From the Series 7000
performance line of moving
glass walls and windows, the ← FOR THE BIRDS ↑ SAFETY FIRST
Series 7600 multi-slide doors Nearly transparent to the At the Roux Center for
feature low-E, argon-filled human eye, the Guardian the Environment at
dual-pane glass (in heights up Bird1st UV stripe coating Maine’s Bowdoin College,
to 4.5 metres) that can be gives a visual signal to CambridgeSeven incor-
customized for colour, solar birds to help prevent col- porated the Fireframes
control and more. Thin sills lisions. Offered in sheets SG Curtainwall Series
JEFF GOLDBERG/ESTO (FAR RIGHT)
PHOTO BY NICK MERRICK (TOP)/

let walls stack or slide into up to 2.6 by 3.6 metres
pockets for a clean indoor– (and six millimetres thick),
outdoor transition.  the coating can also be
westernwindowsystems.com applied to other low-iron
or standard clear glass.
guardianglass.com
with Pilkington Pyrostop
fire-rated glass to provide
a fire-resistant barrier that
adheres to LEED Platinum
standards. 
fireglass.com

SEPT 2020_ _ 053

Spotlight
Shingle
Minded
A DUTCH COLLECTIVE IS TURNING
RECYCLED PVC INTO TILING BOTH
PRETTY AND HIGH-PERFORMING
WORDS _Jaclyn Tersigni
PHOTOS _Reinder Bakker
Recycled products are usually discussed in terms
of percentages. A sneaker composed of 30 per
cent recycled ocean waste. Wood flooring that’s 50
per cent recycled wood chips.
PrettyPlastic is an outlier. The line’s exterior
cladding tiles are made entirely from used PVC
construction waste such as gutter pipes and
window frames; there is no new material in their
composition. Its creators say the shingles are the
world’s first 100 per cent recycled cladding.
The Amsterdam team that makes PrettyPlastic
was founded by designers Reinder Bakker and
Hester van Dijk of Overtreders W and architect
Peter van Assche of Bureau SLA. The three met
as neighbours and began collaborating, eventually
designing a coffee bar made entirely from second-
hand materials. Their partnership evolved when
a local group collecting household plastic asked
them whether they could repurpose their items
into something new. Spurred by the challenge, the
three began investigating plastic’s potential.
“We always had this idea of making an upcycled
material one day,” says Bakker. “There are many
designers doing things with recycled plastic, but
it’s always little projects.” In order to process “tons”
of the waste, they built their own machines to begin
turning it into wall tiles, which they used to con-
struct the People’s Pavilion during Dutch Design
Week 2017. The reactions were so overwhelmingly
positive that the team decided to develop the
054 _ _SEPT 2020
Applied to a pavilion for a
school in the Netherlands
(detailed here and below),
PrettyPlastic tiles are
made from 100 per cent
recycled PVC.
prototype into a commercial product.
Acquiring fire certification proved to be a chal-
lenge. To get their mixed-material tiles certified,
they would need to incorporate chemical solutions,
defeating the goal of creating a sustainable product.
That’s when they turned to polyvinyl chloride, better
known as PVC. “It lasts forever,” says Bakker. “And
it’s fire-resistant.” PrettyPlastic’s PVC comes from the
building industry in the Netherlands, where it’s col-
lected, shredded and then transported to Belgium
for processing into shingles by Govaplast.
From a distance, the diamond-shaped shingles
have a stone-like quality, appearing akin to slate.
Even up close, they’re not a giveaway for plastic.
Easy to mount and highly durable, they are compa-
rable to stone shingles, according to Bakker.
Currently available in nine shades of grey,
PrettyPlastic is undergoing fire certification for
new hues, since adding pigment slightly alters the
composition. The collective received European
class B fire certification (meaning the shingles are
unlikely to contribute to fire development) in 2019.
(Whether they can be used for exterior cladding in
North America comes down to equivalency.) LEFT: Nine shades of
For now, the company is fielding global requests grey are offered for the
diamond-shaped, stone-
and moving into real-world applications. In January,
look cladding tiles. Other
Grosfeld Bekkers van der Velde Architecten clad a hues are currently in
school pavilion in Oosterhout in PrettyPlastic, the development.
first permanent structure to feature the recycled
shingles. prettyplastic.nl
 _Facades
Seeking
Maximum
Daylight
THE BENEFITS OF NATURAL LIGHT ARE THE DRIVING
FORCE BEHIND THE CIRCADIAN CURTAIN WALL CONCEPT,
AS FACADE SPECIALIST JOHN NEARY EXPLAINS
AS TOLD TO _Stefan Novakovic
After years of studying fruit fly cells, three American scientists discovered a vital
genetic link that illustrates how living organisms have adapted their biological
rhythms to synchronize with the Earth’s rotation. The breakthrough garnered the
2017 Nobel Prize in Physiology or Medicine for the trio, and proved without a doubt
that all life on this planet is adapted to its revolutions. So if it’s a reality embedded
into our DNA, why not our architecture? The groundbreaking Circadian Curtain
Wall concept, originally devised by senior HOK facade specialist John Neary and
developed in collaboration with WSP Built Ecology, aims to effect just that.
Recently, Azure spoke to Neary, who broke down how it works.
Learning from nature
Exposure to daylight and views of the outdoors make a real difference. While studies
consistently link improved performance of students to classrooms with windows,
Curved glass shells with
floor-to-ceiling vision
panels are a defining
feature of circadian curtain
walls, as this conceptual
image illustrates.
I think most people intuitively know that a view of the outdoors makes a workday
feel better. Together with WSP, HOK developed a facade concept designed to maxi-
mize natural light in office buildings throughout the day.
Inspired by the arc of the sun across the sky, we devised a system of circular
bay windows of full-height glass, allowing indirect natural light inside and views to
the outdoors at all times. Automated shades protect the glass directly facing the
sun, consistently maintaining comfortable conditions. For workers, it opens a con-
nection to the movement of the sun — and improved well-being. In a naturally lit
environment, people tend to feel better and have more energy.
Organic forms are efficient
It may look like a typical all-glass system, but the double-skin curtain wall features
a floor-to-ceiling, solid-spandrel system, as well as an enclosed central cavity that
protects the shades from dirt and damage while also creating greater thermal
efficiency. The end result is a system that reduces the need for air conditioning and
artificial light, which much more than compensates for the energy required to operate
the automated shading system.
While the innovative facade allows daylight to reach deep into the heart of the
floorplate, the curved glass shell has significantly lighter mullions than a conven-
tional curtain wall, allowing for a considerable reduction in the use of aluminum — a
notoriously carbon-intensive building material. In terms of both operational efficiency
and embodied carbon, the organic form is a sustainable alternative to more traditional
curtain wall systems.
Fostering a workplace of “neighbourhoods”
The cellular nature of the facade geometry creates a feeling of more individuated
spaces within. It gives a sense of definition to the environment, creating a distinct
sense of place. It also allows more cohesive, flexible teams to break down into quasi
neighbourhoods. Hopefully, it fosters more intimate, comfortable office environments.
And who doesn’t want a workspace where you feel a connection to the sky? 
hok.com, wsp.com
SEPT 2020_ _ 055
 High-Precision
Kitchen Appliances

By delivering on performance, design and precision, Signature Kitchen Suite

demonstrates respect for food at every level. We honour the ones who produce it,
the ones preparing it and, most of all, the ones lucky enough to be enjoying it.
Learn more at SignatureKitchenSuite.ca, @SKSappliances, 855-790-6655.

AVAILABLE AT APPLIANCE CANADA & CORBEIL

Visit ApplianceCanada.com or CorbeilElectro.com
WRƮQGDlocation near you.

&RS\ULJKW†6LJQDWXUH.LWFKHQ6XLWH6\OYDQ$YH(QJOHZRRG&OLƬV1-$OOULJKWVUHVHUYHGp6LJQDWXUH.LWFKHQ6XLWHqDQGWKH6LJQDWXUH.LWFKHQ6XLWHORJRDUHWUDGHPDUNVRI6LJQDWXUH.LWFKHQ6XLWH

Screen
Play
FOR A KITCHEN IN SAN FRANCISCO,
T.W. RYAN ARCHITECTURE PAYS
SUBTLE HOMAGE TO ALVAR AALTO
WORDS _David Sokol
PHOTOS _Mariko Reed
Although California architect Thomas Ryan had long
been a fan of Alvar Aalto’s buildings, it was during a
2006 trip to Finland and Sweden that he became
particularly enamoured of the Finnish icon’s recurring
use of screens. “There’s something about the way
a screen creates space but doesn’t stop space,”
the Sausalito-based architect says. “It creates the
atmosphere of a wall.” When a couple asked him to
take over the gut reno of a two-storey San Francisco
house that already had permits for its interior plan,
Ryan designed a series of quasi-walls in tribute.
“Because there were so many givens I couldn’t
change, it became about the details.”
Screens appear throughout the 297-square-metre
Mission District home. Entering it requires passing
beneath a painted cedar board-and-batten facade
and through a security gate composed of repeating
Spotlight
Kitchens _Fridges _Systems _Faucets
EDITOR _Kendra Jackson
vertical elements. Not far beyond the threshold, the
stairway is framed in oak slats whose spacing cor-
responds to the raw steel balusters. The motif appears
again on a deck railing overlooking the backyard.
A soaring 84-square-metre living area commands
the second floor between the stairway landing and the
elevated outdoor room. Ryan sandblasted the ceiling
to reveal its original tongue-and-groove Douglas fir joists
and boards, inserting three steel I-beams to reinforce
the roof. “I like these moments of rawness, with every-
thing else clean and crisp,” says Ryan. In turn, the
room’s kitchen and accompanying island are minimally
detailed, featuring only a few materials: laminate cabinet
faces, Carrara surfaces and a Heath tile backsplash
topped by precisely sized open shelving.
The long side of the L-shaped counter terminates
in a breakfast nook, which Ryan conceived as another
homage to Aalto. He tapped a CNC mill to fabricate the
area’s seating according to a repeated pattern. Against adds: “You can always fall back on the narrative, asking
the wall, the vertical slats align with the upper shelf, yourself whether the vertical screen speaks to the front
whereas the backrest of the freestanding bench (which of the house, the middle, the back.”
is embedded with steel for structural integrity) matches Even the client felt inspired to play with the theme
the deck railing beyond the window. “The nicest part is of loosely demarcating space. After moving in, the
the way it catches the light and provides texture,” Ryan husband and wife clamped a swing to an I-beam for
says of this counterpoint to the horizontal kitchen. He their two kids. twryanarchitecture.com
SEPT 2020_ _ 057
Spotlight _Kitchens

1 MASTERCOOL II
The second generation
of the MasterCool series
features a handle-free push-
to-open door so the unit can
sit flush with the wall, as well
as an interior with height-
adjustable shelves and bins
for flexible storage. Discreet
but effective LED strips
illuminate the contents and
an integrated filter eliminates
odours. miele.ca

2 COLUMN REFRIGERATION
Offered in three widths,
JennAir’s column refrigerators
have been updated with over
600 LEDs (to dramatically
highlight the obsidian interior)
and the Trinity Cooling system
(which allows for three
customizable and distinct
temperature zones within).

Custom
Solid glass and metal door
1
bins are also new additions. 
jennair.com

Coolers 3 400 SERIES

On the outside, the 400
Series of refrigerators and
freezers can be finished in
BOASTING MYRIAD EXTERNAL FINISHES
a single sheet of stainless
AND INTERNAL LAYOUTS, THESE
steel or adapted to match
FRIDGES SUIT JUST ABOUT EVERY NEED
a kitchen’s millwork, while a
WORDS _Kendra Jackson
programmable TFT touch
display stores personal
preferences. Inside, the
anthracite aluminum bins
2
and clear glass shelving can
be configured in endless
4 ways on a nearly invisible rail
system. gaggenau.com

4 INTEGRATED COLUMN
REFRIGERATOR
These panel-ready or stain-
less-steel-fronted fridges
are available in 61- and
76-centimetre widths, and
can be matched with freez-
ers (in three width options)
3 and opaque glass-door wine
coolers to create a seamless
kitchen. An all-metal interior
and linear compression keep
temperatures stable. 
signaturekitchensuite.com

058 _ _SEPT 2020

 5101 Empira Black – NEW

Beautifully superior.
Designed by nature. Perfected through innovation.
Learn more at caesarstone.ca
Spotlight
Make It
Personal
TODAY’S HARDEST-WORKING KITCHENS ALLOW FOR
FULL CUSTOMIZATION, FROM RECONFIGURABILITY AND
INTEGRATED APPLIANCES TO MATERIALS AND FINISHES
WORDS _Kendra Jackson
SHAPE
A unifying moulding runs across the volumes of this system, allowing the neatly
tapered edges to contain integrated handles; the result is a sleek handle-free front.
Appliances — both vertical and under-counter models — can also be concealed
behind the cabinet and island panels for a seamless look. And it can be paired with
the new Infinity Modular hood system of stainless-steel and glass components,
which incorporate lighting, spice racks and Phytolite grow lamps. poliform.it
060 _ _SEPT 2020
COMBINE EVOLUTION
Expanding on his 2018 design, Piero Lissoni’s Combine now
includes an open metal structure with drawers to connect the
cooking and working blocks, a built-in solid oak stave table and
a fixed hanging matte black aluminum utensil bar with embedded
LEDs, plus tall storage units and integrated appliances. New
finishes — Carrara marble and a matte black scratch- and finger-
print-resistant stainless steel — are also offered. boffi.com
K-LAB
Architect and designer Giuseppe Bavuso conceived K-Lab as an at-home
industrial-style kitchen. Alternating open units and solid volumes can
be finished in a range of materials, from platinum, onyx and graphite
satin-metallics and various oak veneers to extremely matte lacquers.
Back-painted silver, the glass doors (not shown) also feature a diamond
pattern to subtly obscure the objects behind them. ernestomeda.com
 _Kitchens

BOXI
Two years in development, the BoxLife by Rainlight
collection now includes the Boxi kitchen. The 22-
millimetre-thick plain-faced doors have a 45-degree
cutout to incorporate a handle for a clean-lined look
throughout. In the iteration shown here, an oak-veneer
table cantilevers off the central island for a convenient
dining area. Fifteen glossy and matte lacquered finishes
are offered, as are other wood veneers, melamine
and clay. scavoliniusa.com

SISTEMA XY
Francesco Meda designed this universal accessory system to
work with all Dada kitchens. Influenced by Cartesian coordinates,
it comprises vertical and horizontal elements built around a
central channel that can be outfitted with outlets, hoods, plate
racks, knife holders and more. Open aluminum framing can hold
wood or stainless-steel shelves with hooks, while a 130-by-
130-centimetre wooden board does double duty as a work
surface and informal table. dada-kitchens.com

GAMMA
Continuously expanded on since its 2013 introduction,
the Gamma kitchen by Antonio Citterio, shown here
at the recently opened showroom in Vancouver’s
Livingspace, is now a full range that can be mixed and
matched to suit specific needs. Still characterized by
the flat-panel door fronts with inset grooved handles,
Gamma is offered in dozens of materials and finishes,
including Armour (a high-grade scratch-resistant lami-
nate), lacquers, natural wood and others. arclinea.com

SEPT 2020_ _ 061

Spotlight
Water
Features
THESE GRACEFUL SINGLE-
HANDLE GOOSENECKS MARRY
FORM WITH FUNCTION
WORDS _Kendra Jackson
↑ KITCHEN COLLECTION
Bathroom faucet brand
Franz Viegener enters the
kitchen realm with a collec-
tion of elegant gooseneck
faucets. Smooth lines, a
tilt-out lever, a push-button
spray trigger and nine
metallic finishes lend the
pull-down fixture beauty
and versatility. Polished
Rose Gold is shown.  nickel or polished chrome
franzviegener.us
062 _ _SEPT 2020
_Kitchens
GRACELINE
Referencing the stream-
lined style of the American
Modern ocean liners
of the 1930s, designer
Michael Berman added
industrial knurled detailing
to his pull-down faucet.
It comes in five mono-
chrome finishes and one
(shown) that combines
matte black with a glam
hit of satin gold.  Updated with a flexible
houseofrohl.com
↑ AQUALOGIC OZONE
An ozone generator
connects to this faucet
to produce a broad-
spectrum microbiological
agent that kills 99.9 per
cent of viruses, bacteria
and common food
pathogens. Offered in
two heights, Aqualogic
is made from lead-free
brass with a brushed
finish. lenovasinks.com
← CATRIS FLEXO
matte black rubber hose
and slimmer body, the
Catris Flexo faucet
effectively straddles the
line between industrial
and traditional. Available
in chrome and stainless-
steel finishes, the newly
tactile fixture boasts a
dual spray function and
a built-in aerator to reduce
limescale buildup. 
blancocanada.com
← U BY MOEN
Synced to smart home
systems, this voice-
activated faucet allows
for hands-free operation:
Start or stop water flow,
request temperature and
volume measurements,
and preset common
functions (such as filling
a teapot or dog bowl)
in the smartphone app.
Multiple styles and
finishes are offered. 
moen.ca
 Italian design since 2013
Soft. Strong. Smart.
Interiors have a new material. Since 2013.
With low light reflectivity, its surface is extremely opaque,
anti-fingerprint and features a pleasant soft touch.
FENIX innovative materials are suitable for different interior design applications:
residential, retail, healthcare, hospitality, and office.

J0717 Castoro Ottawa

fenixforinteriors-na.com
ARCHITECTURE AND DESIGN AFTER COVID-19

The
VIEWS
from
HERE
Before the Spanish flu pandemic of a century
ago, bathrooms were buried deep within
households and Belle Epoque opulence
reigned. In the wake of the flu and other disease
outbreaks, powder rooms for washing up near
the entrance to homes became common and
the 20th century discovered clean-lined mini-
malism (with an emphasis on clean). How will
the current pandemic affect design? For some
highly educated guesses, Azure consulted
a who’s who of architects and designers, their
specialties wide-ranging. Herewith are their
prognostications on the offices, schools, air-
ports and civic spaces of tomorrow. (Spoiler
alert: You may no longer need that passport
holder. And how about theatres on rooftops?)
 According to Carlo Ratti,
physical workplaces
(such as this one by Jump
Studios for Serbian gaming
company Nordeus in
Belgrade) are unlikely to be
relinquished anytime soon.

Don’t count the physical office

(or suburbia) out yet
BY Carlo Ratti

Over the past few months, COVID-19 has greatly altered the way we work. Forced into lockdowns that play a key role in human well-being and idea
all around the world, many of us have abandoned our traditional offices, instead connecting with generation. Physical space, in other words, is still
people through digital services such as Zoom, Skype and FaceTime. If such patterns were to persist, the the most effective antidote to the polarization of
consequences for cities could be major. Certainly, a lot of real estate would be freed up — something online networks. The case for the office is therefore
that might be bad news for developers, but not so bad for citizens, as large metropolises could become stronger than ever — and will be even after the
more affordable for the young and less wealthy. More importantly, new living patterns might redefine pandemic. carloratti.com
the prevailing modes of human habitation. As it was during the mid–20th century, suburbia might again
become a preferred urban form — with drastic repercussions for our global infrastructure. Architect and educator Carlo Ratti is a found-
The key question is: Will we still go to the office? Some multinational companies (Twitter and Shopify ing partner at innovation and design firm
among them) have bet that this won’t be the case, granting their employees the right to work from Carlo Ratti Associati and a professor at the
home — forever. Are we witnessing the prelude to the death of the modern office? I do not believe so. Massachusetts Institute of Technology. At MIT,
Even if we were able to solve all the issues with home working — from faltering Internet connections he directs the Senseable City Lab, a research
to the pesky intrusions of scantily clad passersby in live Zoom sessions — we would still need physical group that explores the relationship between
places to meet and interact with our colleagues. new technologies and urban design.
PHOTO BY RELJA IVANIĆ

Our initial analysis of digital telecommunications on the MIT campus, where I work, suggests that the
lack of physical interaction (both pre- and post-COVID-19) is making our social networks more fragile.
As investigated almost 50 years ago by Stanford University sociologist Mark Granovetter, fragmented
social networks tend to make “strong ties” even stronger, but undermine those occasional “weak ties”

SEPT 2020_ _ 065

 In cities, let’s hit the
rooftops and build
“urban microclimates”
Winnipeggers JOHANNA HURME, COLIN NEUFELD and SASA of rooftop parking. Wouldn’t it be amazing if they
screened open-air movies there?
RADULOVIC, partners in 5468796 Architecture, are among the most
respected urbanists in Canada. Their creations range from idiosyncratic All these ideas — extended patios, park restaurants,
rooftop cinemas — sound like wonderful summer
residential complexes (including 62M, a discus-shaped building on stilts)
initiatives. But what happens when the weather
to beloved community events (see Table for 1200, one of the world’s largest turns cold?
outdoor dinner parties). Their design philosophy centres on cosmopoli-
JH: We need to create pockets of warmth. Last summer,
tanism, participation and togetherness — themes that, at least on the
we visited a project in Malmö, Sweden, called Bo01,
surface, seem at odds with the conventions of social distancing. But about the effects of urban microclimates. There, a cold
perhaps, as they tell Simon Lewsen, this doesn’t have to be true. breeze comes off the North Sea, but if you step into
certain courtyards, you’ll find that the temperature sud-
Let’s start by articulating the case for pessimism. outdoors is the one place where we can all get denly increases by 10 degrees.
How might COVID-19 make our cities worse? together relatively safely. Should we therefore
be rethinking many aspects of outdoor design? How do you achieve that effect?
Johanna Hurme: I worry that people will go back to
this notion that the only way to live is to have vast SR: The street that Johanna and I live on is lined with JH: You situate buildings at 45-degree angles to the
amounts of personal space. patios. A few years back, businesses started extending south, so that you get more sun exposure to different
their patios and taking over parking spots. We should sides. You place your patios on the north side of the
Colin Neufeld: People might say, “We should make the keep experimenting with initiatives like this. streets, so they capture the southern sun. And you set
streets wider for cars, because we’re safer in our cars.” buildings in a pinwheel arrangement around a central
This mentality could erode our civic culture. JH: It’s all about flexibility. This is not going to be the courtyard, which is then protected from the wind.
last pandemic. We will need places that expand when
You clearly believe that density and well-used public social distancing is necessary and contract when it You’ve sketched out two possible post-COVID-19
spaces are good for cities, but hasn’t COVID-19 isn’t. In 2017, we launched Design Quarter, a non-profit futures: one in which space is privatized and severed
shown us that these things are dangerous? organization that promotes local, design-focused from the commons, and another in which we rebuild
businesses. Last year, we gave blankets to member our cities in pedestrian-friendly ways. How does one
JH: Density doesn’t mean cramming as many people restaurants. Today, if customers aren’t able to sit in make the case for the latter vision?
into a room or park as possible. It’s about decent, them because of social distancing, there are still many
human-scale housing and outdoor spaces where pocket parks in the city. People can get takeout from a CN: You emphasize the positive changes that have
people can have social contact but with more elbow restaurant, borrow a blanket and create a shared food already happened. As urbanists, we should say, “Look,
room than before. court outdoors. because of COVID-19, we’re already spending more
time on the sidewalks. Now, let’s make them better
How do we create that elbow room when our cities What other urban spaces might we reclaim? and safer.”
are already tightly packed?
JH: Rooftops are underutilized. When you get high up JH: It’s the responsibility of design folk to put a posi-
Sasa Radulovic: We make the sidewalks wider and on many of the buildings in Winnipeg, you see nothing tive message out there. We’ve all seen how, over the
narrow the streets. With people working less and being but mechanical units and gravel. past several months, dense cities have had massive
at home more often, the traffic has been reduced. reductions in pollution and traffic and improved air
That’s a change we should seize. SR: A few years back, we discussed turning the rooftop quality. The message we should convey is, “Let’s
of a Winnipeg parkade into a drive-in theatre. In Toronto, preserve these changes. Aren’t they better for all of
Since COVID-19 hit, we’ve discovered that the the downtown Eaton Centre has a tremendous amount us?” 5468796.ca

066 _ _SEPT 2020

 How to design COVID-proof schools
Places of learning are by nature interactive, typically involving densely
packed classrooms, crowded hallways and communal areas for eating, exer-
cise and assembly. So how do schools adapt to a threat that discourages such
activity? “To promote a higher level of health safety, socializing will have to
change,” says Paul Sapounzi, managing partner at +VG Architects, a 60-person
Canadian firm with a specialty in designing educational facilities.
According to Sapounzi, “schools will become more fluid places so that
students have choices for learning outside as well as inside the classroom.
They need to be able to learn in different parts of the building. The entire
school becomes the classroom.”
Practically speaking, such a template already exists: +VG’s St. Mary’s
College, a consolidated high school opened in 2016 in Sault Ste. Marie, Ontario.
A defining feature of the building, for which the firm designed the floor plan
and interiors, is a 12-metre-high, multi-functional atrium that effectively
dissolves the boundaries “between what have traditionally been discrete,
disconnected spaces,” says Sapounzi. As envisioned by the architect, this
so-called learning commons, which is flooded with natural light and has
become a “magnet” for St. Mary’s students, serves as library, cafeteria,
assembly hall and more. Its functions are delineated by carpet tile and seat-
ing groups, which can be altered at will. The commons also provides direct,
open access to other key areas (such as the gym and auditorium) and
includes quiet zones.
“When St. Mary’s was on the drawing board,” Sapounzi says, “the goal was
to future-proof the school by designing built-in flexibility to accommodate a
wide range of teaching scenarios.” COVID-19, of course, wasn’t among them,
but +VG’s design nonetheless gives St. Mary’s the versatility to tackle it.
Another high school by +VG, slated to break ground this summer in the
city of Windsor, Ontario, will be even more explicitly COVID-proof. The plan At St. Mary’s College in
will feature four additional “touchdown zones” to enhance the dispersal of Sault Ste. Marie, Ontario,
a versatile central atrium
students; corners of the learning commons will be used for small, spread-out makes physical distancing
gatherings. _DANNY SINOPOLI plusvg.com a breeze.

The importance of To create more elbow

building trust room, think green
BY Regina Yang BY Stefano Boeri

Coronavirus is making people more aware of their built environment, so
this is an opportunity for architects and designers to use design to engage
on an emotional, spiritual and cultural level.
Related to this is the importance of designing for trust. Many people are
afraid to re-enter the public realm right now — that realm is under threat.
Consequently, design needs to be used to help build trust between all
parties concerned — between restaurant owners and patrons, park authori-
ties and visitors, hospitals and patients. We need to keep people safe, but
we also need to reassure people that experts are implementing changes to
keep them safe. massdesigngroup.org
Regina Yang is a senior director at MASS Design Group in Boston. Its
PHOTO BY SHAI GIL
More than ever before, urban forestry and agriculture can make the city
a more liveable place by including it in a wider ecosystem integrated with
protected woods, mountains and rural areas. The challenge is to design
smart, green and self-sufficient buildings, neighbourhoods and cities by
considering the circular economy model and by using clean energy.
When we build our Vertical Forests, we start with the selection of plants,
shrubs and trees, adapting to the climatic conditions of the site and drawing
the facades according to the greenery they will accommodate. Vertical Forests
are designed to welcome both trees and human beings as inhabitants, in
buildings where the presence of living nature makes architecture act as a
powerful ecosystem. stefanoboeriarchitetti.net

mission is to research, build and advocate for architecture that is Milan-based architect and urban planner Stefano Boeri is the principal of
purposeful, healing and hopeful. Stefano Boeri Architetti, acclaimed for its pioneering forested high-rises.

SEPT 2020_ _ 067

 At airports, look for soothing palettes, but not
security checks — they’ll be invisible
Spanish architect LUIS VIDAL has worked on more than 30
airport designs worldwide, including the award-winning Zaragoza
Airport in northeastern Spain and the beloved Queen’s Terminal
at London Heathrow. His floor plans are spacious and open-ended,
his interiors bathed in natural light. Few people alive have thought
so carefully about the experience of being in an airport. Thanks to
COVID-19, that experience is likely to change dramatically, as the
architect, who is currently working on Pittsburgh International’s
new terminal, explains to Simon Lewsen. In Vidal’s view, the post-
pandemic airport will be unlike anything we’ve seen before.

It seems clear that, if airports are to become safer
from an epidemiological standpoint, we will need
to move through them in a different way. There will
need to be less clustering, shorter lineups and fewer
checkpoints where documents are passed between
travellers and employees. How will this work?
We will see the deployment of facial-recognition
software, even for people who are wearing surgical
masks. Companies can already do this. There will be
a requirement to go to a government ID centre every
five or 10 years to get your face and iris scanned.
When you arrive at the airport, the facial-recognition
devices will be waiting for you, and your data will be
attached to a kind of electronic identity that follows
you as you move through the building. You can then
go through filters like customs and immigration without
having to bring out your passport.
So your passport would be your face?
Your face and your iris, yes.
What about airport security?
You’ll walk down a corridor and have yourself and your
luggage scanned without even knowing it. If you have
something suspicious with you, a staff member will
approach you and gently ask you to step aside.
Will this be technologically possible?
The technology already exists. It’s possible for you to
go through security without having to line up, pull out
your belt, take off your shoes and put your computer on
a tray. Why hasn’t this technology been implemented?
Because passengers perceive more security if they go
through the familiar security processes.
So airport security as it’s practised today is a kind of
performance, and not strictly necessary?
Exactly. In the future, there may also be new, more
sensible checkpoints to pass through before you even
arrive at the terminal. There are lots of airports in Asia
where they stop every vehicle approaching the access
road to search for bombs. There’s no reason why they
couldn’t introduce something similar elsewhere, but
instead of looking for explosives they’d take your
temperature. And when you walk through the double
doors to enter the building, the doors might close for
an extra second, keeping you there while ultraviolet
light passes over your shoes and clothes.
The goal would be to kill pathogens on your person?
Yes. For this to work, though, ultraviolet light would
have to be confirmed as a good disinfectant method.
When you finally get to the gate, would you still have
to line up to board the plane?
Instead of boarding by group, each passenger would
be given their own number. You would approach the
gate only when your number comes up. The lower
numbers would go to the people who are sitting at the
back of the plane.
So you’d board from the back to the front, with each
person entering in turn and nobody standing in line?
Right. The goal would be to avoid bottlenecks.
What will the airport of the future look and feel like?
Ideally, you’ll be in an environment that transmits calm-
ness and comfort. That would come through the use
Featuring automated
systems and airy communal
zones, Vidal’s new terminal
for Pittsburgh International
Airport is slated to open
in 2023.
of natural light, good ventilation and a colour palette
that gives a sense of tranquility. This pandemic has
made people realize how many things they didn’t have.
People have been confined at home without a balcony
or terrace. They’re rediscovering the need for sun and
space and volume.
Your existing airport designs certainly focus on these
elements, which make for a soothing ambience. But
is there a sinister side to the future you’re envisioning?
To your mind, is there anything unnerving about the
idea of facial-recognition software, about a building
that recognizes you as soon as you walk in?
I have absolutely no problem with that. I know people
have issues about sharing their personal identity or
giving personal data. But they have to acknowledge
that we are already being captured by street cameras
everywhere. Hardly a crime happens today on the
street that is not filmed, and it only takes between one
and five days for the police to find you. We already live
in this world.
Do you think, then, that airport design will change for
the better because of the pandemic?
I’m optimistic. Imagine if the developments I’ve
described bring an end to those long lines at
security. That alone would be fantastic, wouldn’t
it? luisvidal.com

068 _ _SEPT 2020

 Let’s apply tech to the greater
good, not just gadgetry
BY Ben van Berkel
When it comes to the smart city of the future, the most important thing
is to use technology for good. And that means ensuring sustainability, which
goes hand in hand with health.
From a civic point of view, there are three kinds of health: social health
(bringing people together as a community), mental health (which entails
making people feel safe, seen and accepted) and physical health (which
involves a healthy environment that allows people to grow their own food,
for instance, in a semi-public garden).
From now on, technology should be used to support sustainability and
health the same way that an analog solution would. It should not be used
merely as a gadget. unstudio.com
Dutch architect Ben van Berkel is co-founder and principal of Amsterdam-
based UNStudio and a lecturer at TU Delft.
How to make fine dining safe again
Star designer Adam Tihany’s screen test: being present or being seen?
“Thinking about the reopening of restaurants right now can be stress-
ful, but not thinking about it can be disastrous,” says globetrotting interior
designer Adam Tihany, renowned for his high-end hospitality work.
Counting celebrity chefs such as Daniel Boulud and Thomas Keller among
his clients, Tihany is well-placed to consider the post-COVID-19 future of
restaurants, especially the variety of pricey eateries that diners flock to as
much for the ambience as for the food.
Among his solutions: semi-custom privacy barriers that redefine the
experience of fine dining by emphasizing being present over being seen,
ensuring both intimacy and safety in the process. “The screens are designed
with wellness and comfort in mind,” says Alessia Genova, managing partner
at Tihany Design, which is based in New York City, “but they also evoke a
kind of ‘public privacy’ that we feel might offer a positive spin on rebuilding
the experience of dining out. It becomes an opportunity to focus on the faces
and food in front of you while still enjoying the atmosphere, the service and
everything we’ve been missing while apart from our favourite restaurants.”
Although Tihany’s lightweight, easy-to-maintain screens share the
same semi-opaque glass panelling, the wooden frames can be tailored to
What we can learn from
the resilient North
BY Marc Blouin and Catherine Orzes
The advantage of the Northern regions in this period of COVID-19 comes
from the fact that they’re isolated. There are no roads or railways that link
Nunavik (where we’ve done a lot of work) to southern Quebec (where we’re
based). That makes the Inuit communities that live in the North very
sensitive to the precariousness that accompanies their isolation, but also
greatly resilient.
For instance, the Katittavik Cultural Centre we designed in the northern
village of Kuujjuarapik is currently closed and 2020 programming has been
cancelled. The village authorities we spoke to recently, however, tell us that
they are thinking of new ways to use this multi-functional room, with its
variable geometry and retractable seating system, to ensure that physical
distancing will be the norm for a long time to come.
The situation is the same in the town of Churchill, Manitoba, where Polar
Bears International House, an interpretation centre we completed in 2019, is
currently closed but is also being repurposed. In the longer term, the impact
of COVID-19 will also be felt in the interior design of several seniors’ residences
currently underway in Nunavik and Nunavut. blouinorzes.com
Marc Blouin and Catherine Orzes co-run Montreal-based Blouin Orzes
Architectes, which has been designing projects in Canada’s North for
two decades.
Completed in 2018, the
brightly clad Katittavik
Cultural Centre in remote
Kuujjuarapik was designed
with resilience and
flexibility in mind.
complement a range of interiors, from ornate to contemporary, sumptuous
to hard-edged. For beleaguered restaurateurs, the designer’s solution offers
a concrete (if temporary) tool that’s as elegant as it is effective. What
distinguishes it further is the rarefied category it addresses — and the
way it might inspire a rethink of how we inhabit such spaces going forward.
_D.S. tihanydesign.com
Tihany Design’s proposed
safety barriers can be
tailored to the decor of
almost any restaurant. The
straight-edged versions
pictured here illustrate how
the screens might look at
Philadelphia’s Vernick Fish.
SEPT 2020_ _ 069
 The four-storey atrium at
the heart of Diez + Muller’s
Natura building is an ode to
South American materials,
including Chilean pine for
the floating ceiling screen
and Peruvian travertine on
the floors.

070 _ _SEPT 2020

 In a suburb of Quito, Ecuador,
Diez + Muller Arquitectos
champions work–life symbiosis
through an eco-sensitive com-
plex that houses its own office

WORDS _Danny Sinopoli

PHOTOS _JAG Studio

NATURAL
BALANCE
There are a number of qualities that make
Natura — a 2,500-square-metre office and resi-
dential complex in the Quito suburb of Tumbaco,
about 25 kilometres southeast of the capital —
unique among buildings in the country and
indeed in South America. For one, it’s unusually
open, both in its relationship to the street and in
its use of interior space. Unlike many buildings
in Latin America, it doesn’t lie behind high walls,
but welcomes occupants and visitors with ver-
dant, unbarricaded frontage and a flight of low,
wide steps that leads to a check-in booth and the
main entrance. Its defining feature, moreover, is
a soaring central atrium, partly open to the ele-
ments, that separates the residential component
from the offices.
As its name implies, the complex is also strongly
connected to nature, which is out of the norm for
many buildings in Tumbaco. Despite the bedroom
community’s stunning setting in a temperate
valley surrounded by mountains, many of its
commercial structures are squat and unremark-
able, offering little in the way of greenery, views
or indoor–outdoor appeal. The firm that designed
Natura, Diez + Muller, took a more sensitive
approach, building around existing mature trees,
using the sloped site as a key design element
and incorporating features that optimize natural
lighting and ventilation, such as roof terraces,
balconies and courtyards.
Natura, finally, is a social experiment of sorts,
its mixed-use program designed to showcase the
benefits of living close to where one works —
and especially the advantages of not having to
join the caravan of commuters who drive to and
from central Quito in tortuous traffic every day.
Diez + Muller’s principals, who had a hand in
developing the project as well as designing it, are
so committed to the idea of work–life proximity
that they installed their own studio in an upper-
level corner of the building. Felipe Muller, who
studied architecture at Tecnológico de Monterrey
in Mexico, also resides in the complex (there are
20 office units and five apartments overall), while
Catholic University of America and Syracuse
University alum Gonzalo Diez lives nearby in
the surrounding valley, as do eight others in the
12-person firm.
“We were interested in having our office closer
to where the majority of our work was, and also
wanted to work closer to where we live,” say the
architects. “That’s why we saw an opportunity
to be part of the developer group, as well as the
designers of the project.”
Quite apart from Natura’s logistical appeal,
the building would be an alluring one wherever
it was situated. After mounting those wide front
steps and crossing the low-slung threshold,
visitors arrive at a four-storey skylit atrium, with
the entrance to the residences on one side and a
stairway to the offices on the other. The skylights
072 _ _SEPT 2020
are screened by a suspended ceiling element
made of Chilean pine, while the lobby’s walls are ABOVE: Natura’s unusually
open entrance is marked
covered with a warm wood called roble marfil,
by low, wide steps and
a type of local eucalyptus. The ode to South a riot of mature trees,
American materials also extends to the pavers — around which the complex
was built. The landscaping
made of Peruvian travertine — that cover the
is by Clemencia Echavarría.
floors, the staircases and the catwalks spanning
the space.
But Natura’s design is very much a product of
its site. The atrium — which functions as a kind
of building commons, hosting yoga sessions,
nutrition workshops, book launches and more —
is built around a towering Erythrina crista-galli, a
South American tree characterized by “a beauti-
ful spiny trunk and, in some parts of the year, a
big pink flower,” the architects say. It was among
the various on-site trees, including jacarandas,
IN NATURA,
acacias, carobs and avocados, that the building’s
footprint accommodates; a dendrologist commis-
VISITORS
sioned by Diez + Muller determined which should
not be moved and which could be transplanted
SEE A GREAT
to either a nursery or another on-site location
chosen by the project’s landscape designer,
MODEL TO
Clemencia Echavarría.
A similar deference was paid to the site’s
REPLICATE.
sloping contour. The rear of the complex, which
sits on an plot of 6,841 square metres overall, is
 LEFT: Framed in
eucalyptus slats, the
building’s soaring central
hall serves as a semi-
indoor commons, hosting
activities from yoga to
book launches.

BELOW AND RIGHT:

Diez + Muller has also
situated its own studio in
Natura, which houses both
offices and apartments.

SEPT 2020_ _ 073

 THE
BUILDING,
ON A SLOPED, 5 1 2 3 4 6

6,841-SQUARE-
METRE PLOT,
IS ANIMATED
BY ITS
SPATIALLY
COMPLEX 1 Entrance
2 Atrium
4 Apartments
5 Parking

ATRIUM. 3 Offices 6 Garden

significantly lower than the front of the building,

BELOW: A variety of
windows — large and small,
vertical and horizontal —
punctuate Natura’s painted
brick facades, their
orientation based on how
directly they’re exposed to
Ecuador’s strong sunlight.
although this is almost imperceptible from inside,
given the complex spatiality of the atrium and
the varying ceiling heights of the underground
parking garages. That rear part of the site, which
is open to the lobby, is an idyllic garden setting
that incorporates a riot of plants — and is a key
example of the “permeability” that the architects
strove for on the whole.
Another example is the way that Diez + Muller’s
own office transitions fluidly between inside and
outside. A good chunk of the studio’s 180 square
metres consists of outdoor terraces connected to
the office via sliding doors — an attractive feature
in any workplace, but especially valuable in the
age of social distancing. Such floor-to-ceiling
doors and windows were only incorporated into
the north and south facades of the building,
which the sun hits less directly; windows on the
east and west sides of the complex are smaller-
scaled vertical and horizontal slits that regulate
exposure to sunlight and punctuate the complex’s
painted brick skin dynamically. “Especially on the
equator,” the architects explain, “east and west
facades have the most aggressive sunlight.”
This kind of deep contextual knowledge
illustrates just how attuned the firm is to local
conditions. At the same time, it has presented,
through Natura, a new way for Ecuador (and any
other country really) to think about and build
contemporary workspaces. This one places open-
ness, sustainability and human health at the top
of the values list. And it resonates. “Visitors see
in it a great model to replicate,” say its proud
designers, adding that at least one developer
who “saw some pictures of Natura and later
visited it” has expressed interest in realizing a
similar concept. diezmuller.com

074 _ _SEPT 2020

 ALL YOU NEED TO KNOW ABOUT
THE BRANDS YOU NEED TO KNOW
SUBSCRIBE
HERE
SER-
VICE
FOR A JAPANESE TECH FIRM’S SATELLITE IN TORONTO,
LOCAL STUDIO UUFIE CONCEIVES AN IDIOSYNCRATIC YET HIGHLY
FUNCTIONAL OFFICE REPLETE WITH BOLD DETAILS

WITH
WORDS _Elizabeth Pagliacolo
PHOTOS _Maxime Brouillet

A STYLE
A gradient wallcovering
by Calico provides a hit of
colour in the otherwise all-
white main workspace of
CO-Sol’s Toronto office.

SEPT 2020_ _ 077

 LEFT: Contrasting the
primary workroom, an all-
black kitchen distinguishes
the common area, which
links an entry alcove with
the rest of the 92.9-square-
metre office.

OPPOSITE TOP: The narrow

semi-corridor leading into
the communal zone is clad
on one side with a stained
white oak veneer. Carved
into the millwork is a backlit
arch with a storage bench
at its base.

Specializing in database technology, CO-Sol is a Japanese company

that provides its clientele with 24-hour support service. To create its new
satellite office in Toronto, it turned to the local design studio Uufie, which
transformed a compact suite in a massive mixed-use complex in the city’s
NO MATTER
north end for the firm. Taking advantage of the time difference between
Toronto and Asia, CO-Sol’s seven employees handle nighttime duty for HOW SMALL A
PROJECT, WE
Japan out of the space. It’s the type of quirky cult-film premise — a tiny band
of transplanted computer whizzes (plus one Canadian) quietly at work in
a quasi-suburban residential and commercial building — that sparks the
imagination. And the interior, replete with bold gestures and moody details,
more than lives up to the cinematic promise.
ALWAYS DO
Eiri Ota — who runs Uufie, an interdisciplinary outfit, with Irene Gardpoit
— set the scene from the beginning. Having assisted CO-Sol in finding the 100 PER CENT
CUSTOM.
92.9-square-metre office space, he regards what other prospective tenants
might have seen as a drawback — the view outside its wraparound windows is
partially obscured by a green roof — as a decided plus. “There’s a lot of natural
sunlight and they’re facing the rooftop, which is a bit of a barrier, but also
really nice,” says the architect, noting that the space is both open and private.
Ota delights in other details. Upon traversing the first security barrier —
a glass-doored alcove — he points out the canted metal supports that hold the palette might seem for such a small room, it’s very
security camera and keypad on a small desk. These types of devices, he says, effective. “It feels like you’re in the shadow of a
are usually affixed to walls, but that felt cold and intimidating; in his view, tree,” Ota says. And despite the architectural pan-
placing them on the desk was much friendlier. orama on display outside the window wall, it also
Further inside, this sense of warmth continues. The narrow semi-corridor creates a sense of intimacy and compression —
that leads into the office proper, for instance, is lined on one side with which is instantly countered upon entering the
custom-crafted millwork clad in a stained white oak veneer. Carved into the adjoining main workspace.
millwork, which features elegantly recessed vertical pulls accessing storage Here, the expansive open layout features white
space behind it, is a backlit arched alcove with a bench at its base. Opposite this furnishings, white flooring (cushiony Division9
wall is an all-black kitchen, which at first appears like a good way to conceal cork planks, which Ota likens to “paper underfoot”)
dirty dishes, although Ota — who revels in eccentric design decisions — and a massive cross-shaped overhead light fixture
notes that the opposite is true: Everything that’s placed on the counter appears painted — what else? — white. “I liked the idea of
in sharp relief. just ignoring all the ductwork and overriding it
Just beyond this entrance area, a glass wall encloses a meeting room that’s with a giant X,” he says of the fixture, which was
painted a deep teal and contains a live-edge wood table. (“We chose a very built out of MDF and is powered by LED strips.
Canadian table,” jokes Ota.) Object/Interface’s plant-filled Babylon pendant The only colour accent — and it’s a striking one —
lights, painted black, illuminate the space. As counter-intuitive as this dark is a gradient wallcovering from Calico that morphs

078 _ _SEPT 2020

 from green at the top to silvery at the bottom.
“It’s a way,” Ota explains, “to connect the outside
to the inside.”
The main furnishings — the low-slung storage
that hugs the perimeter of the room, the desking
with its mirror-finish aluminum base that gives it
the feel of a sculpture — are also all custom. Even
the bronze-tinted smoked-glass wall that conceals
the computer servers was detailed with much
consideration: To vent the overheated nook, the
designers cut out a small rectangle at the bottom
of the glazed enclosure. “No matter how small a
project, we always do 100 per cent custom,” says
Ota, whose instincts have proven spot on. Under
Uufie’s direction, a series of compact rooms in an
otherwise sprawling complex have coalesced into a
perfectly executed — and perfectly idiosyncratic —
hub of activity. uufie.com

1. Entrance
2. Common area with kitchen
3. Meeting room
4. Main workspace
5. Storage
6. Server room

MIDDLE RIGHT: Uufie

designed most of the
office’s furnishings,
including the main work-
space’s desking with a
mirrored aluminum base.

RIGHT: A live-edge wood

table, described by Eiri
Ota as “very Canadian,”
dominates the glassed-in
meeting room.
THE OFFICE
AS WE
KNEW IT
WORDS and ILLUSTRATIONS _Talitha Liu and Lexi Tsien

NO LONGER
EXISTS

Even before the pandemic, contemporary work-
places were straddling the line between the virtual
and the physical, our hyperconnectivity increasing
by the day. Going forward, write workspace design
experts Talitha Liu and Lexi Tsien of New York studio
Soft-Firm, office designs should be textural tethers
between our messaging platforms and our common
spaces — and that includes the workplace equiva-
lent of a hug
Soft-Firm’s concept for
a co-working start-up
explores how modular
privacy booths and
partition systems can also
transport employees to
other realities.
THE OFFICE OF TODAY IS A GRID OF
FACES ON ZOOM
It’s official: The office has migrated online. The
tools that we use for working and communing are
now a network of apps and clouds. While it was
once an abstract notion for most, working from
home is the new normal. During the pandemic,
WFH has proved successful as an infrastructural
exercise, with technology as the platform for all
social connections, from staff meetings to happy
hours. The pandemic has also brought the vari-
ous meanings of work into sharp relief and reset
our understanding of essential and nonessential
work, of salaried and gig positions. In the process,
it has catapulted new heroes — medical profes-
sionals, grocery store cashiers, takeout couriers,
mail clerks — into a vastly altered public sphere.
In the private sphere, our sudden autonomy is
countered by the struggle to carve out spaces of
work in our own homes. 
SEPT 2020_ _ 081
INFINITE OFFICE
1. “LOG” IN
2. PLUG IN
3. MEET UP
1 exhibition at A/D/O by
WHAT’S IN YOUR FRAME?  Where companies like Google once ushered in
Mandatory WFH compels us to examine our relationship to technology and
to our peers. Is a shared server connection more vital than physical proxim-
ity to a co-worker? Can the physical office as a communal infrastructure for
work be replaced by virtual space? On one hand, distributed work gives us
more flexibility and autonomy. Away from the distraction and red tape of the
office, focus and productivity have increased. At the same time, we are work-
ing longer and harder than ever before. The concept of work–life balance is
obliterated with the one-to-one overlap of the work and domestic spheres.
WFH gives our office mates a sneak peek into our domestic lives, replete
with cameos from kids and biographical interior-design flourishes. It
recontextualizes us as individuals, not just co-workers. Outside of the
neutral zone of the office, unequal access to space, light and air creates even
more inconsistent ground for work. The pandemic — during which every
individual is recast as a disease vector and a bridging node between com-
munities — has shone a starker light on our contribution as integral parts
of a societal whole. Post-pandemic life will call for a much more empa-
thetic approach: We must rethink what constitutes care for employees and
co-workers, broadening our idea of what constitutes a good workplace for
physical and community health. The corporate conversation around work
has shifted away from touting “collaboration and innovation” and toward
“safety, wellness and mindfulness,” away from amenities and toward equity:
082 _ _SEPT 2020
LEFT: Infinite Office,
another concept by
Soft-Firm, suggests that
working remotely can
enable us to plug in and
virtually meet up in any
setting, indoors and out.
OPPOSITE: A physical
model of a privacy booth
(top) and, from last
year’s “Out Of Office”
Mini, a Jencksian timeline
charting the evolution of
the desktop (middle).
new employees with the charm of gyms, adult
play spaces and screening rooms, there seems
to be a growing emphasis on how employees are
treated instead of what they are being treated to.
Will we return to the office en masse? Are there
limits to our ability to work online? We can’t predict
the future, but we can see that WFH places an
undue burden on domestic space, as our homes
do double and even triple duty as work, school
and leisure space. Plus, subtle yet important cues
are lost through virtual communication, and the
highly choreographed and scheduled nature of
virtual calls leaves most of us wanting seren-
dipitous conversation. We crave connection and
action. In the midst of a turbulent restructuring
of the cultural sphere, we are surging back into
public space in search of real connection, com-
munication and activism. But one wonders if the
sterile design proposition of seamless surfaces,
masks and sneeze guards, which may keep us
safer, replicates rather than resolves the distance

of virtual connection.
So how does the designer build in this context,
where virtuality has become the dominant mode
of experience and pandemic instills a deep suspi-
cion of touch and connection?
 
THE OFFICE OF TODAY IS MATERIAL
AND DIGITAL
Our design studio, Soft-Firm, pushes back against
the inevitability of total virtualization as the new
paradigm of collaboration and space-making.
We seek to confront the discrepancy between the
physical and virtual worlds, balancing our reli-
ance on the digital with the needs of our physical
bodies in space and our needs as social creatures.
Recently, we were commissioned by the
immersive design studio Scatter to envision the
physical space in which virtual reality is produced
and presented. Organizing the office along an
assembly line, we established three zones for the
stages of production: the capture space where
physical bodies are recorded digitally, the work-
shop where virtual space is produced and the
“veil” in which that virtual space is presented
through VR systems.
The seamless interplay between the physical
and virtual object in this project heralds a future
in which virtual space is interchangeable with
real space. Could we all be avatars? Everyone gets
a corner office, a three-piece suit, working any-
time from anywhere? Not so fast. There’s a physi-
cal limit where the body rejects technology in the
“veil.” We are susceptible to VR sickness, which
results from the disjunction between the digital
environment fed into our senses and our actual
physical grounding. To counteract this at Scatter,
we designed non-visual cues such as soft details
and textured floor coverings — material treat-
ments that become progressively softer and more
pliable as the body experiences the virtual reality
space. Wherever these boundaries are blurred,
we crave an architecture that amplifies our hap-
tic awareness and, as designers, we can see this
interplay between the virtual and the physical as
an opportunity for sensory activation.
Technology can be the operative metaphor
for the design process itself, exemplified by office
start-ups that quickly roll out ready-to-work
spaces. In this business model, space planning
is substituted with a kind of software logic:
Spatial products are not floor plans or structures,
but rather a multipliable code of ones and zeroes.
The most irreducible units of space are the
charging station and the mission statement,
which together form scalable and culture-coded
office environments anywhere. In a post-pan-
demic world, this would incorporate a deep shift
in how we consider co-working and sharing.
Here, design is necessary when this approach
conflicts with real-world human needs, such as
acoustical privacy, a sense of place and — now
more than ever — safety and security.
Soft-Firm addressed this challenge for a
co-working start-up by designing modular
prototypes (privacy booths, partition systems
and desks) that were generic enough for any
space yet brandable to any company. These
“physical software patches” were templates
for customization in the company’s aggressive
program of expansion, providing packaged func-
tions such as privacy or informal meetings. We
designed a privacy booth that could be nested
radially or on a diagrid — a sheared cube hard-
shelled in plywood but with furry insides, like
a hug. The contrast in texture and enigmatic
form are a more humanistic format for work —
and a challenge to the modernist cube as a unit
of space.
As we migrate from platform to platform, it’s
tempting to fantasize that the virtual office will
leave the physical one behind. And the idea of
returning to our old office desks post-pandemic,
if we ever do, feels like returning to an archaeo-
logical frieze of our old lives. Yet as designers
and as workers, we still crave something familiar
that’s not quite nostalgia.
Is there a way to create an open-ended, less
precious approach to workplace design? In an
exhibition entitled “Out Of Office” at A/D/O by
Mini’s creative space in Brooklyn (which recently
succumbed to the pandemic and shut its doors
permanently), Soft-Firm collaged tropes of work
into an active co-working space: two imagined
vignettes in the public atrium. In doing so, we
asked: What are the office’s symbolic nodes of
interaction? How is it anchored with tactile,
concrete signifiers? In the Water Cooler Talk
feature therein, we reimagined the social hub as
one giant totem for itinerant freelancers, fully
integrated with a running Slack channel, power
outlets and water. (We might add a hand sani-
tizer dispenser to that now.) Here, the physical
realm meets the digital stream. In Wellness Room
2050, synthetic projections of the 1995 Windows
desktop (with its signature “Startup” chime
slowed down by 200 per cent) and wall-to-wall
acoustic felt allowed the worker to unplug in
the digital pastoral. In this case, familiarity met
idealized futurism.
THE OFFICE OF TODAY IS A STATE
OF MIND 
The relationship between technology, design and
work is predicated not just on our ever-increas-
ing access to more — and newer — tools and
devices. The paradigm shift of the last decade
makes office design as much about “software”
(or programming) as it is about “hardware” (the
architectural or physical infrastructure itself).
And both demand performance and flexibility.
When our work sphere maps directly onto
the virtual sphere, work is not what we make,
but how we do it. Technology allows the loci of
production to be increasingly distributed, yet the
cultural significance of the workplace — the cen-
trality of work in our lives for community and a
structured routine — remains strong. Where the
office used to be a potent headquartering of people,
brands and company objectives, businesses are
realizing they can save a pretty penny by renting
space for meetings and happy hours, letting the
corporate environment diffuse into the public and
private realms. The office as we knew it no longer
exists. If its essential components are reconsid-
ered post-pandemic, does the office of the future
look like a guild, a kindergarten, a garage? Do we
DIY our own home-office kit?
Work is a paradigm to design alongside, but
also to resist against. Post-pandemic, we see an
opportunity for designers to map back onto
the physical world in a radically new way, to
rethink some of the fundamental building blocks
of design, such as adjacency, connection and
touch. The design of offices should be a textural
tether between our messaging platforms and
our common physical spaces. We all seek a con-
nectedness that is more essential than network
connectivity, reaching beyond floor plans and
timesheets to foster a symbiotic and mindful
relationship to the digital realm and to each other.
soft-firm.com
SEPT 2020_ _ 083
Baja
California
BESIDES BEING AUSTERELY BEAUTIFUL, THIS MEXICAN
RESIDENCE BY STUDIOHUERTA IS A MODEL OF BOTH
LOCAL KNOW-HOW AND FAIRER LABOUR PRACTICES

WORDS _Simon Lewsen

PHOTOS _Roland Halbe

SEPT 2020_ _ 085


GABRIEL HUERTA, principal of the Brooklyn- and Tijuana-based design
firm Studiohuerta, didn’t get into architecture just to build lavish retreats
for the well-to-do. He has a decidedly humanist bent — and a portfolio that
includes a postgraduate student centre at CETYS University in Mexico as
well as conceptual designs for miniature green spaces to be situated on
traffic medians in New York City. Currently, Huerta is enrolled in the Yale
School of Architecture’s post-professional design research program, which
focuses on socially engaged work. “I want to move back and forth between
architecture and academia,” he says, noting that he has already taken at least
one break from professional practice to pursue intensive studies; in 2012,
Huerta completed a degree program in environmental design at Spain’s
Escuela Técnica Superior de Arquitectura de Madrid. “I believe that research
is essential for the entire profession,” he says.
When a consortium of investors asked him to design a vacation home in
Los Cabos, the Mexican former fishing village that has become a retreat
destination for prosperous Americans, the architect — perhaps surprisingly —
accepted. True, the commission wasn’t obviously public-spirited in nature.
But the project, he decided, could be a kind of laboratory — a chance to
establish best practices for future work and to test out ideas about aesthetics,
labour relations and spatializing technical and environmental systems such
as passive cooling. In short, the commission afforded him an opportunity to
do the thing he loves most: research.
It also enabled him to build in a truly surreal environment, a landscape of
scrubby desert that suddenly gives way to the Pacific. Huerta is no stranger
to the Baja California peninsula, at the tip of which Los Cabos sits. He was
born in its largest metropolitan area, Tijuana, and spent the first decade of
his life moving back and forth between his hometown and its twin city on
the American side of the border, San Diego. Since his childhood, Huerta has
seen dramatic changes in the local economy. Medical tourism has brought
U.S. dollars pouring into the peninsula, and rising home prices have sent
Americans southward in search of affordable properties. The result is a
construction boom that isn’t often subjected to burdensome regulation. “Baja
California is a great place to work,” he says, “because there’s a measure of
freedom in how you approach each project.”
The architect committed himself to using that freedom responsibly. “I
was trying to resist as much as possible the larger culture of vacation devel-
opment,” he says, referring obliquely to the typical Baja Californian holiday
home: an ersatz Tuscan villa surrounded by palm trees, which don’t naturally
grow in the arid climate. Instead, Huerta tapped into the Central American
tradition of concrete construction. The house he designed, called Casa
Escondida, is a low-slung mass, austere like the surrounding landscape,
and clad in flinty Cantera, a soft stone from the heart of the country. The
property, moreover, is adorned with local plant species, such as feathergrass,
succulents and black olive trees.
The most unique architectural features are
concealed within the building. For the interior
walls, Huerta had the board-formed concrete
sandblasted to accentuate the wood grain. And
while the layout of the house is fairly conven-
tional (with the kitchen and living spaces on
the ground floor and ensuite bedrooms above),
there’s an additional element that serves as both OPPOSITE: Casa
a conceptual and literal centrepiece: an open Escondida’s entry gates
breezeway that runs lengthwise along the spine (pictured on the previous
spread) step down to
of the building. This passage — a contemporary a soaring courtyard
iteration of the classic Roman or Parisian arcade anchored by a massive
— is topped with shaftlike open skylights that cobalt blue front door.
The enclosure is one link
taper, variously, toward the north or south. in a breezeway that runs
An aperture on the east side draws in the ocean the length of the house.
breeze, and the lightwells, with their varied
TOP LEFT: The varying
orientations, create heat differentials, which orientations of the
facilitates airflow. “The wind passes through the breezeway’s lightwells
house and flushes heat out constantly,” says mitigate heat absorption
and facilitate airflow to
Huerta. “It can be 100 degrees Fahrenheit outside create a kind of natural
and only 75 degrees in the breezeway.” air conditioning.
 A GETAWAY IN LOS CABOS WASN’T
AS PUBLIC-SPIRITED AS SOME OF GABRIEL
HUERTA’S OTHER PROJECTS, BUT THE
COMMISSION ALLOWED HIM TO TEST OUT IDEAS
ABOUT SPATIALIZING ENVIRONMENTAL SYSTEMS
SUCH AS PASSIVE COOLING.

SEPT 2020_ _ 087

 Architects, Huerta believes, should think not
only about what to build but also how to build it.
Many developments in Baja California proceed
like this: An American investor, rich in pesos and
ignorant of the Mexican labour market, hires a
local fixer to secure materials and contract out
the construction. That fixer then spreads money
around to various interests — including, often-
times, government officials — but still somehow
manages to underpay his labourers. Huerta,
however, cut out the middlemen, opting to negoti-
ate directly with contractors and suppliers. The
money he saved on what might euphemistically
be called “facilitation fees” was then passed on to
workers, whom he paid well above market rates.
“Architecture always exists within broad socio-
economic and political systems,” he says, “and
we are actively seeking ways of making our work
more directly engaged with social and environ-
mental issues.
“This kind of strategizing,” the architect adds,
pointedly, “is a form of design thinking, too.”
studiohuerta.com

TOP LEFT: A view of

the kitchen is framed
by the home’s distinctive
interior walls, made of
board-formed concrete
sandblasted to highlight
the wood grain.

LEFT: In one of the upper-

floor bedrooms, unstained
pale-wood furniture
warms up the residence’s
austere shell, which is
dotted with strategically
placed apertures of various
shapes and sizes.

1. Main entry gates

2. Courtyard/breezeway
3. Living room
4. Dining room
7 5. Kitchen
6. Pantry
7. Outdoor terrace
3 11 8. Lounge
4 9 11 9. Bathroom
5
6 11 10. Garage
9
11. Bedroom
9

2 10
8 11
9 9

GROUND FLOOR UPPER FLOOR

The exterior of Casa
Escondida is clad with
Cantera, a flinty Mexican
stone as reflective of
Huerta’s devotion to
context as the desert
plantings that speckle
the property.

SEPT 2020_ _ 089

Spec Sheet _Products

Bathroom
SELECTIONS _Kendra Jackson

Tiles
1 Glow
Each of the colourways in this wall tile collection
includes a hologram option with a rainbowlike
effect to strategically interrupt the pastel palette.
Materials Ceramic  All tiles in the Glow series
Dimensions 5.08 × 25.4 (8 mm thick)  are available in both
 matte and glossy finishes
Colourways Four (Rain Gloss shown)
Manufacturer Nemo Tile + Stone, nemotile.com

2 Biscuit
With five three-dimensional surfaces and one flat,
Biscuit allows for architectural installations that 1
play with different perceptions of shadow and light.
Materials Ceramic 2
Dimensions 5.08 × 20.3 (8 mm thick)
Colourways Four (Salvia shown)
Manufacturer Ceragres, ceragres.ca
3
3 Lume
Intentionally inconsistent colouring and perfectly
flawed surface patterning give these high-gloss
tiles a sense of movement between light levels.
Materials Porcelain
Dimensions 6 × 24 (10 mm thick)
Colourways Six (Green shown)
Manufacturer Marazzi, marazzigroup.com

4 New California
Alluding to both the North Coast landscape from
which it derives its name and the artistry of the
state’s mid-century craft movement, these glazed
4
brick tiles are handmade at the studio’s in-house
guild. Available late August.
Materials Clay
Dimensions 6.35 × 20.3 (19 mm thick)
5
Colourways Nine (Willow shown)
Manufacturer clé, cletile.com

5 Hoof Sculpt
One of three styles in the equestrian-inspired Equus
line by designer Catherine Braconnier, Hoof Sculpt
uses dry pressing to achieve a sculpted profile with
an elliptical indentation.
Materials Porcelain stoneware
Dimensions 14 × 18.5 (12 mm thick)
Colourways Four (Tan Breeches shown)
Manufacturer Sartoria, sartoria.design

ALL DIMENSIONS PROVIDED ARE IN CENTIMETRES UNLESS OTHERWISE STATED

 2

Freestanding Washstands
1 Wave
This mix-and-match series includes eight basins
and 12 freestanding or wall-mounted washstands,
plus coordinating lighting, shelving and mirrors.
Materials Fireclay, powder-coated metal, plus wood
with oak or concrete finishing
Dimensions Variable (91 H × 60 W × 48 D shown)
Colourways Washbasin, 13; stand, matte black
Manufacturer Simas, simas.it

 The eight basin shapes 2 Bolgheri

 included in Wave taper to Combining two distinct yet eco-sustainable materi-
 six millimetres thick
als, this freestanding sink by Gumdesign is inspired
by the small villages that dot Tuscan hillsides.
Materials Cristalmood, hand-finished recycled cork
Dimensions 90 H × 50 W
3 4 Colourways Sink, 13 (Gran Cru shown); stand,
Natural (shown) or Roasted
Manufacturer Antoniolupi, antoniolupi.it

3 Lap Plus
Karim Rashid applied rippling concentric circles to
the surface of this basin, graphically accentuating
its elliptical shape; a towel rack and storage shelf
are integrated into the design.
Materials Glass and resin composite, stainless steel
Dimensions 89 H × 72 W × 42 D
Colourways Two (Black/White shown)
Manufacturer Glass Design, glassdesign.it

4 Filo 75
Slender hairpin legs and open shelves give Alessio
Pinto’s black washstand accessibility and airiness.
Materials Varnished stainless steel, matte black glass
Dimensions 78 H × 73.5 W × 43.5 D
Manufacturer Flaminia, ceramicaflaminia.it

SEPT 2020_ _ 091

Spec Sheet _Products

Shower Fixtures

1 Rainshower 310 SmartConnect

Available in round or square formats, this shower
is operated via remote control for hands-free
switching between two spray intensities — relaxing
and invigorating — or a combo of both. Attaches to
existing shower arms via a standard ball joint.
Finishes StarLight chrome
Manufacturer Grohe, grohe.ca

2 Nebia by Moen 2

This easy-to-install spa shower uses a patented atom-

ization spray technology that creates the sensation
of more water while consuming 45 per cent less
than average. It features a height-adjustable slider
and optional hand-held fixture with magnetic dock. 3
Finishes Stainless steel in chrome/white (shown),
chrome/matte black or spot-resistant brushed nickel 4
Manufacturer Moen, moen.ca, nebia.com

3 Studio S Collection
A water-saving feature, pressure and temperature
balance technology and a scratch-resistant finish
enhance this urban-inspired system’s performance
and durability.
Finishes Matte black (shown), polished chrome,
brushed nickel
Manufacturer American Standard,
americanstandard.ca

4 QTOO Shower Faucet

With a shower head and baton hand sprayer,
this system offers precise control over water
flow and temperature, including anti-scald
protection. Suitable for outdoor use.
Finishes Brushed or polished marine-grade
_> MORE ONLINE
Find additional bathroom products at
stainless steel
azuremagazine.com/spec-sheets
Manufacturer QTOO, qtoobath.com

092 _ _SEPT 2020

 _Bathroom

Faucet Collections
1

1 Trend X-One
Both the structured cylindrical knob and the flat 2
spout of this faucet by architect Fabrizio Batoni can
be customized by colour and finish for coordinating
or mismatched effects.
Finishes Brass in 10 colours
Dimensions 17.8 H × 12 W
Manufacturer Zazzeri, zazzeri.it
3

2 Nice
Originally designed in 2016 with a vibrant rainbow
palette, Matteo Thun and Antonio Rodriguez’s
optical-effect faucet also comes in a matte black.
Finishes Brass and acrylic in matte black
Dimensions 27.6 H
Manufacturer Fantini, fantiniusa.com

3 Eclissi Bath Collection

Like a planetary eclipse, the inner and outer circles
of this series’ handles — which can be matching
or contrasting finishes in up to 16 combinations —
come into alignment only for a moment.
Finishes Matte black, satin nickel, satin gold, 4
polished chrome
Dimensions 17 H × 20 W
Manufacturer Rohl, houseofrohl.com

4 Parabola Bath Collection

The bent tube of this faucet features an elegantly
faceted profile reflecting the symmetrical math-
ematical curve the collection is named for.
Finishes Chrome, polished nickel,
brushed gold, black
Dimensions 15.6 H × 19 W
Manufacturer Riobel, riobel.ca

SEPT 2020_ _ 093

Spec Sheet _Materials

Surfacing
WORDS _Evan Pavka, M. Arch

Solid Surfacing
1 Dark Side
Caesarstone’s Dark collection is a range of deep quartz
surfaces with a subtle textured finish and satin sheen.
Designed for kitchens and bathrooms, the four lines 1

comprising the series include Black Tempal (shown),

patterned with delicate mineral deposits that give it a 3
weathered appearance. caesarstone.ca

2 Timber Terrazzo
Each of Foresso’s 85 per cent recycled products is
composed of end-grain wood chips, plaster waste,
wood dust and a bio-based resin. Offered in four
colourways, the 24.4-by-12.2-centimetre terrazzo-like
slabs consist of a 0.6-centimetre-thick top layer and
a 1.8-centimetre plywood substrate. foresso.co.uk

3 Wave Maker
Liquid is a collection of three ultra-compact Dekton
by Cosentino surfaces conceived with London studio
Patternity. From swirling-veined Liquid Sky (shown)
to dark Liquid Embers, the marbled slabs are available
up to 320 by 142 centimetres and in three thick-
nesses. cosentino.com, patternity.org
2
4 Synthetic Stone
Available in two slab formats (320 by 150 or 320 by 160 4
centimetres), three tile sizes (75 by 75, 150 by 75 or
150 by 150 centimetres) and two finishes (polished and
ultrasoft), Calacatta Luxe expands Neolith’s popular
Calacatta line with its expressive golden–amber and
dark grey veining. neolith.com

5 Thin Slice
Suited for easily integrating sinks, cooktops and
more, Thinscape by Wilsonart is a line of engineered
surfaces for horizontal interior applications with an 5
ultra-slim profile. The 12 one-centimetre-thick designs
are offered in four standard sheet sizes, ranging from
76 by 305 to 152 by 366 centimetres. wilsonart.com

094 _ _SEPT 2020

 Laminates
1 Punchy Paper
Updating its range of laminates by designer Patrick
Norguet, Pure Paper has introduced seven new
neutral and vibrant shades to the Colors collection,
including the bold Cognac (shown). These subtle
relief surfaces are suitable for walls, doors, furniture
and even ceilings. purepaper-laminates.com

2 Burnt Out
Cleaf’s latest design, Bruciato, takes its inspiration
from the ancient Japanese technique of burning
1 wood: Shou Sugi Ban. The 280-by-207-centimetre
wood-look sheets, which come in faced panel,
laminate and ABS edge options, are also offered in
various supports (MDF, chipboard and more) and
thicknesses. cleaf.it

3 Flexible Formats
The 20 surfaces that make up InteriorArts’ new Fresh
Data line range from refined neutrals to rich textures,
including natural wood grains, plaster-like patterns and
concrete designs (shown). Each 121.9-by-305-centi-
metre high-performance laminate panel is anti-finger-
2 3
print and scratch-resistant. ialaminates.com

Veneers

1 Check Mate
Spanish architect and designer Patricia Urquiola has
crafted a colourful new decorative wood veneer for
Italian manufacturer Alpi. Entitled Alpi Grada, the
surface consists of a checkerboard print comprised of
natural and beige oak tones accented with rectangular
pale pink and purple patterning. alpi.it

2 New Natural
Wolf-Gordon has released 12 striking and environ-
2
mentally friendly additions to its WonderWood natural
wallcoverings. Sourced from sustainable tree farms,
the 61-centimetre-wide reconstituted wood veneer
sheets are easy to install and finished with a clear
matte lacquer. wolfgordon.com

3 Heavy Metal
Atmos by Pure + Freeform is a versatile collection
of 100 per cent recyclable, single-skin aluminum
surfaces, with 22 options that range from Gilded Rust
to Hampton Brass (shown) and much more. Highly
_> MORE ONLINE
Find additional surfacing solutions at
customizable, the line is produced at a maximum size
azuremagazine.com/spec-sheets 3
of 122 by 449.5 centimetres. purefreeform.com

SEPT 2020_ _ 095

 Boldface

Much has happened globally since our 35th Anniversary issue was published in late March. The following
enumerates only some of the most recent events impacting architecture and design. For our full coverage
SIGN UP FOR of the COVID-19 pandemic, Black Lives Matter movement and much more, visit azuremagazine.com.

AZURE’S And the winners are...

NEWSLETTER In early May, the Architectural League of New York announced the six emerging firms awarded the 39th annual
Architectural League Prize for Young Architects + Designers. They were Los Angeles–based D.esk, Ithaca,
New York’s HANNAH, Mexico City’s Michan Architecture, New York–based New Affiliates, Mexico City’s Vrtical
And get your weekly and Los Angeles– and New York–based Formlessfinder. Each received a US$2,000 prize, as well as the
opportunity to participate in a virtual exhibition and lecture series themed around the concept of value.
dose of inspiration Also in May, the 36th edition of Tate Britain’s annual Turner Prize — the United Kingdom’s most prestigious art
award — was cancelled due to the COVID-19 pandemic. Instead of the singular £25,000 prize, individual grants
of £10,000 were dispersed to 10 artists in need. “The practicalities of organizing a Turner Prize exhibition are
impossible in the current circumstances,” explained Tate Britain director Alex Farquharson, “so we have decided
to help support even more artists during this exceptionally difficult time.”
In June, the Harvard University Graduate School of Design named London-based architect and researcher
Daniel Fernández Pascual the recipient of the 2020 Wheelwright Prize. One-half of conceptual studio Cooking
Sections, Pascual will use the US$100,000 research- and travel-based grant to develop his proposal, “Being
Shellfish: The Architecture of Intertidal Cohabitation,” exploring the potential of coastal ecosystems. “The
Wheelwright Prize,” he says, “will allow me to investigate how the intertidal zone, in all its complexity, may
advance architectural knowledge in an era of climate emergency.”
Shortly thereafter, British–Swedish designer Chris Martin of Stockholm-based studio Massproductions received
the Bruno Mathsson Prize, an annual award of SEK250,000 presented to a leading Nordic industrial designer.
“I’m extremely thankful to the foundation for honouring me with this prestigious award,” Martin said of the prize,
the largest of its kind in the region.

Movers and shakers

In late April, Brooklyn-based design incubator, co-working space and fabrication lab A/D/O by Mini announced
that, as of May 31, 2020, it would officially close. “Although we’ve made the difficult decision to close our doors,”
managing director Nate Pinsley said, “we’re confident the idea that has permeated everything we’ve done —
the belief that good design can change the world — will continue to inspire everyone who has been a part of our
journey.” The closure of A/D/O, which was founded in 2017 and developed as well as funded by Mini, was largely
informed by the economic uncertainty brought on by the COVID-19 pandemic, according to the organization.
In June, the Los Angeles–based critic and curator Mimi Zeiger and the Chicago-based architect Iker Gil (of
MAS Studio and the publication MAS Context) were named co-curators of the 2020–2021 cycle of “Exhibit
Columbus,” an annual exhibition and symposium in Columbus, Indiana. As the recipients of the inaugural curato-
rial fellowship, Zeiger and Gil will “bring a critical, research-based perspective to this celebrated program,” says
the organization. The pair will organize the virtual 2020 symposium to be held this fall while spearheading the
2021 exhibition tentatively slated to run from August 20 to November 28, 2021.
Also in June, it was made public that WeWork co-founder and chief culture officer Miguel McKelvey would
depart from the co-working start-up he had established in 2010 with Adam and Rebekah Neumann, both of
whom have also left the company. “After 10 years, I’ve made one of the most difficult decisions of my life,”
McKelvey explained in a June 5 post on his personal Instagram account. “At the end of this month, I’ll be leaving
WeWork. Thank you for letting me turn my daydream into my day job.”
The drama continues between the Frank Lloyd Wright Foundation and the School of Architecture at Taliesin.
Following news of the school’s closure in January and the outpouring of support that ensued, the school’s
board has released plans to not only rename the institution, but to operate remotely from Paolo Soleri’s
Cosanti and Arcosanti projects in Arizona for its summer session. It eventually hopes to establish a permanent
home there.

In memoriam
In May, Italian architect, designer and artist Nanda Vigo died at the age of 83. Over her six-decade career,
SIGN UP AT: Vigo was known for her collaborations with such leading manufacturers as Glas Italia, Driade and Kartell, as well

azuremagazine.com/ as futuristic interiors that featured, among other striking elements, a faux fur–covered stair. Vigo’s work had
also been the subject of exhibitions at the Stedelijk Museum Amsterdam, Venice Biennale and Milan Triennale.
newsletter Not long after, celebrated graphic designer Milton Glaser, who co-founded New York magazine and designed
the iconic “I ۪ NY” slogan, died at the age of 91. In addition to his work with the publication, Glaser was recog-
nized for his crisp, refined and vibrant visuals, exemplified by his now-iconic 1966 album art for Bob Dylan.
 Get 1 year of AZURE
Plus a free limited-edition tote
for only $39.95

Tote Value
$19.95

Subscribe today and get AZURE’s limited-edition

Ecodesign Tote. Made in Italy from recycled synthetic
paper and cotton, this ultra-lightweight yet super
strong tote is perfect for your everyday essentials.

SUBSCRIBE NOW
AZUREMAGAZINE.COM/TOTE
Final Thought _Project TK _City, Country _Studio TK
On
Lookers
AN UPCOMING EXHIBITION
ON LE CORBUSIER OPENS UP
QUESTIONS OF ISOLATION AND
THE FRAMING OF HISTORY
WORDS _Evan Pavka
PHOTO _Takashi Homma
In one of my favourite works by Virginia Woolf,
the author reflects on the fleeting life of a day moth
as it darts from one edge of her window to the other,
unable to access the pastoral landscape unfolding
just beyond the pane. A similar sense of confinement
resonated as I traced the perimeters of my apartment
during recent weeks spent sheltering in place. Like the
insect, many of us were restricted to our domestic
spaces, finding refuge in momentary glimpses of the
outside world through Zoom, FaceTime and other
virtual windows.
Not just innate voids in a facade, windows compose
particular visions of entire exterior and interior worlds as
they merge inside and out. Their strategic positioning is
carefully considered, echoing that of a camera’s lens.
“Ever since I had begun photographing, I concen-
trated on the idea of the frame, of the window,” says
photographer Takashi Homma, who between 2002
Captured by Japanese and 2018 documented these elements in the work of
photographer Takashi Charles-Édouard Jeanneret, a.k.a. Le Corbusier.
Homma in 2004, a mirrored
window in Le Corbusier’s Homma’s rich trove of imagery is the subject of
1951 Cabanon de Le the exhibition “Eye Camera Window,” opening at the
Corbusier surveys the rich Canadian Centre for Architecture this fall. “Windows
vegetation and waters of
Roquebrune-Cap-Martin in can be understood as the eyes of a house,” writes his-
Southern France. torian Tim Benton, adding that “behind Le Corbusier’s
098 _ _SEPT 2020
structural arguments lie a more personal obsession.”
In one of Homma’s scenes, the artist captures a
view looking out from a small hut in Roquebrune-
Cap-Martin, not far from where the architect drowned.
The rustic cabin also surveys the site of Eileen Gray’s
landmark Villa E-1027, intended to be private and
concealed. The architect would later vandalize the
residence with eight murals, a technique he had once
considered a way to “violently destroy the wall, to
remove from it all sense of stability.” Gray’s name was
subsequently removed from Le Corbusier’s later docu-
mentation and circulation of the graffiti. As historian
Beatriz Colomina suggests, he kept a watchful eye
on the property and deemed these paintings a “gift,”
while Gray did not.
In this sense, Le Corbusier’s windows are also an
aperture, framing our view of his history — how it is
understood and valued, from whose perspective we
perceive it. Like Woolf’s moth, we’re often unable to
see beyond the narrow sightlines he offers. If both the
camera and window are a kind of eye, are we looking
at or through them? cca.qc.ca
“Eye Camera Window” runs from October 22, 2020 to
April 18, 2021 at the CCA in Montreal.