10 Questions With… Rebecca Benichou

Madelynn Ringo, an architectural designer with an architectural master's degree from Yale and experience at firms like SO – IL and André Balazs Properties, discusses her career trajectory and design philosophy. Ringo grew up in Kentucky, influenced by her artist mother's vibrant home and the architectural forms of her hometown. These early experiences fostered her independent thinking and risk-taking spirit, leading her to discover a passion for architecture after encountering a student model at the University of Kentucky. She describes her childhood environment, particularly the diverse facades of Bardstown and the prominent brick structures linked to her father's bourbon industry work, as foundational to her aesthetic and disciplined approach to design. After graduation, Ringo moved to New York City, where she gained diverse professional experiences. At SO – IL, she was inspired by their academic and material-focused approach, which emphasized the significance of architectural drawings. Her subsequent role at The Standard Hotel with André Balazs provided insight into brand development and the importance of considering every detail in creating a 360-degree brand experience. These two distinct experiences, one focusing on materiality and form, and the other on comprehensive branding, shaped her design thinking. She highlights the collaborative environment at SO – IL and the opportunity to work on significant projects at The Standard, including a redesign for the Los Angeles hotel, as key learning experiences. Following her time in New York, Ringo pursued further education at Yale, attracted by an exhibition of conceptual model-making. Her studio work there allowed her to explore playful, material-focused renderings. She then returned to New York City, working with designers like Wendy Evans Joseph, and began freelancing, finding a niche in designing experiential spaces for the booming beauty industry. Ringo details her work with Glossier, where she was tasked with creating innovative retail spaces. She designed the Miami store as a theatrical set, drawing inspiration from Miami Art Deco and applying a unique color palette of pinks and peaches, which effectively connected architectural ideas to the customer experience. She emphasizes the importance of every touchpoint in creating an emotional connection to a space. More recently, she became the head of studio design for Modern Age, a wellness brand focused on beauty and aging through science, where she applies her understanding of customer journeys to design calming and distinctive in-person treatment spaces. The decision to start her own firm was driven by a desire to build a team and refine her process through collaboration. She seized an opportune moment at the end of 2020, despite the challenges of the pandemic, by connecting with clients who were forward-thinking about retail spaces. Ringo aims to create a new playbook for architectural design, focusing on rapid prototyping and building to accelerate learning from built projects. She discusses her work for Studs, where she collaborated on developing a retail strategy and a "kit of parts" for stores, focusing on visual merchandising challenges like lighting and displaying tiny jewelry alongside legible price tags. For Studs, she adapts palettes to maintain brand consistency while offering unique experiences in each location. Her collaborations with Bala and Funny Face Bakery illustrate a similar approach: understanding the product to celebrate its objects and narrate its story. She proactively reached out to Bala, driven by her admiration for their products, and Funny Face Bakery approached her after seeing her Glossier work. Both projects involved creating fun, bold spaces that combine architectural elements with playful colors. Looking ahead, Ringo expresses interest in expanding her practice into set design and theater, as well as designing customer experiences for the bourbon industry, which would bring her back to her Kentucky roots and childhood inspirations. #MadelynnRingo #InteriorDesign #ArchitecturalDesign #RetailDesign #ExperientialSpaces #Glossier #SOIL #YaleArchitecture #BrandExperience

This article features an interview with Norwegian designer Daniel Rybakken, who discusses the trajectory of his career, from his childhood influences to his current projects in lighting, furniture, and electronics. Rybakken highlights a consistent vision across his work, despite evolving into various design disciplines. He attributes his early exposure to fashion and graphic design, through his parents, to shaping his aesthetic and compositional interests. Rybakken emphasizes that his primary motivation is the act of creation and inventing new products, rather than financial gain, a perspective he believes is supported by Scandinavia's robust social safety net. The interview delves into specific products that have marked significant milestones in his career. The Counterbalance light for Luceplan is identified as his first industrial piece and a particularly memorable design, pioneering the slender, graphical, and geometric silhouette that later became prevalent in lighting. He also discusses his recent forays into furnishings, including the 124° wall-mounted mirrors and the Kiila collection for Finnish manufacturer Artek. Rybakken notes the unique challenges of designing for Artek, given the company's rich heritage with Alvar Aalto, and his approach to balancing contemporary design with modernist principles. The Kiila collection, consisting of functional "domestic helpers" like a bench and coat tree, marked his initial venture into wood as a primary material, where he aimed for a logical and sober aesthetic, distinct from traditional Danish woodcraft. Rybakken also introduces the W172 Bokeh floor and pendant light for Wästberg, explaining his exploration of transparency and 'not transparency' using frosted glass to create a blurred effect, referencing the photographic term "bokeh." He reveals that he is currently engaged in collaborations with multiple furniture companies and a Japanese technology company, exploring new territories beyond his established work in lighting and furniture. The designer shares insights into his decision to live and work in Gothenburg, Sweden, explaining that it offered more opportunities for designers compared to Norway at the beginning of his career, and now serves as a retreat from the competitive design scene in Stockholm. He stresses the importance of avoiding common influences like design blogs to maintain originality in his work, finding inspiration instead through travel, particularly to places like Japan. Rybakken expresses admiration for designers like Dieter Rams and artists like Donald Judd, appreciating their minimalist approaches and the conceptual layers in their work. Finally, he discusses his interest in photography, considering the image—rather than the physical object—as the ultimate result of his design process, echoing his admiration for artist Thomas Demand, who creates stylized, strange images from cardboard models, blurring the lines between reality and artifice. His approach underscores the belief that design is fundamentally about communication, and the image is the primary medium through which this communication occurs, outliving the temporary nature of physical objects or installations. #DanielRybakken #ProductDesign #LightingDesign #FurnitureDesign #ScandinavianDesign #Artek #Luceplan #Wästberg #IndustrialDesign #DesignPhilosophy #InteriorDesign

Jomo Tariku, a Virginia-based designer and furniture maker, shares insights into his creative process, which draws heavily from his Ethiopian upbringing and African heritage. Born in Kenya and having traveled extensively across Africa during his youth due to his mother's work at Ethiopian Airlines, Tariku was exposed to a diverse collection of objects and furniture from an early age, collected by his diplomat father. His early experiences included working in a car shop in Addis Ababa between the ages of 14 and 16, where he constantly sketched and drew his surroundings while performing various tasks. This period, along with his later academic pursuit of an industrial design degree at the University of Kansas, laid the foundation for his distinctive approach to furniture design. Tariku's work is characterized by its exploration of objects and culture, often reinterpreting everyday African items and totemic figures into sleek, minimalist furniture. His designs incorporate bold colors like black ash and orange, paying homage to African craft and furniture-making traditions. Notable pieces, such as the Nyala chair, the Qwanta totem chair, the Meedo chair, and the Mukecha stool, have gained significant attention. His comb-shaped Mido chair (2021) was acquired by The Metropolitan Museum of Art, and other works are part of the collections at the Los Angeles County Museum of Art, Mint Museum, Denver Art Museum, and Baltimore Museum of Art. His work has also transcended the art and design world, with production designer Hannah Beachler featuring some of his pieces in "Black Panther: Wakanda Forever." Tariku recounts his journey into design, initially considering computer science before discovering his aptitude for art and design during his college years. His mentor at the University of Kansas encouraged his passion, which eventually led him to pursue furniture design for his industrial design thesis. He emphasizes that inspiration should not be limited to existing seating designs but can come from a wide array of African contexts, including hairstyles, the afro pick, landscapes, and headrests, allowing for truly unique and innovative designs. He discusses the transhistorical quality of his designs, which blend ancient influences with modern interpretations, creating pieces that defy chronology and symbolize collective and personal histories. He acknowledges the scarcity of historical data for many African objects, which were often made for utility without formal manufacturing structures. As a Western-educated industrial designer, Tariku interprets this past through his skills, ensuring that his pieces are titled to reference their inspirations, such as the Nyala chair's connection to antelopes or the Boraatii stool's link to Oromia headrests. The designer also considers the interactive relationship with users, exemplified by the Qwanta chair, which features an interchangeable backrest. This design was inspired by traditional African birch chairs and aims to involve users in creating their own totems, transforming the chair into a collaborative art piece. He explains his philosophy that his furniture serves both an artistic and functional purpose, akin to how common objects in Ethiopia were used for utility and then displayed as decorative elements. He views his pieces as sculptural, conceptual, and functional statements. Tariku elaborates on the sculptural aspect of his work, highlighting the balance between artistic form and ergonomic functionality. He strives for elegance, clean lines, and organic shapes that provide visual satisfaction and comfort. His creative process involves rigorous prototyping to ensure both aesthetic appeal and practicality. Regarding abstraction, he focuses on extracting the simplest geometric shapes from his inspirations, testing their endurance and researching thoroughly. He aims to make his designs recognizable to those familiar with the cultural references while also appealing to a broader audience. He discusses his material palette, which is currently limited to ash, American ash, and birch plywood, primarily due to cost and environmental considerations. He consciously avoids exotic African woods, prioritizing sustainable forestry practices in the U.S. He expresses interest in expanding into materials like plastics, metals, and carbon fiber when appropriate. Finally, Tariku speaks about his involvement with the Black Artists and Designers Guild (BADG), co-founded by Malene Barnett, which aims to promote and increase the visibility of Black designers from the diaspora and Africa. He believes that his work, and that of other Black designers, is crucial for challenging Western-centric design canons and pushing against misconceptions about African design, ultimately contributing to a more inclusive representation of global creative traditions. #JomoTariku #FurnitureDesign #AfricanDesign #Afrofuturism #IndustrialDesign #InteriorDesign #CulturalHeritage #BlackArtistsAndDesignersGuild #SculpturalFurniture

Daniel Boddam, an Australian architect and designer, leads his eponymous studio in Sydney, focusing on creating spaces and furniture that inspire human engagement and connection with nature, while celebrating artisanal craftsmanship. His design philosophy is rooted in simplicity and the belief that design can foster a sense of calm and well-being. Boddam integrates a modern perspective with materials, colors, and textures inspired by the Australian landscape, aiming to articulate a unique Australian voice with global appeal. His latest furniture collection draws inspiration from the raw Australian environment. The 'Wave' sofa and chair, for instance, feature undulating forms reminiscent of ocean waves, emphasizing organic shapes and lyrical simplicity. The 'Portsea' side tables highlight elemental forms and quality craftsmanship, using materials like Calacatta marble and Travertine to add tactile dimension to circular and triangulated designs. These pieces, along with his 'Coast,' 'Geo,' and 'Monument' collections, are designed for enduring elegance, combining luxurious materials, revered artisanship, and timeless design. The material palette includes organic elements such as timber, travertine, stone, and marble, paired with neutral tones like sand, grey, and white, all reflecting natural inspirations. Boddam's design process begins with hand sketches, which are then translated into 3D models and integrated into architectural projects to visualize their spatial relationships. Boddam discussed two recent interior projects. For Carthona House, he aimed to create a breathable, light-filled, and well-crafted addition to an existing Federation-style home. His approach involved 'complement by contrast,' balancing the traditional qualities of the original facade with a striking blackened silhouette for the extension, and integrating indoor/outdoor living while maintaining privacy. Lindfield House, in contrast, offers a calm and refined atmosphere tailored to the clients' personalities, driven by considered simplicity and mid-century influences, achieved through layered materials and textures to create a luxurious and minimal interior. His early life was immersed in design, with both parents being architects. One of his first design memories involves playing inside Charles Rennie Mackintosh's Willow Chair, which left a lasting impression of craftsmanship. His curiosity about design persisted from childhood, eventually leading him to study architecture at the University of Sydney. Boddam finds inspiration in the simplicity and elegance of designers like Christian Liaigre, Vincent Van Duysen, and Joseph Dirand, admiring their craftsmanship and timelessness. Boddam splits his time between his primary residence in Byron Bay and an apartment in Bondi, Sydney. His Byron Bay home, built in the late 1990s, backs onto a natural reserve and was designed as a barefoot sanctuary to reconnect with nature, reflecting the spirit of the local landscape and an elevated expression of coastal living. For inspiration, he often turns to nature, taking walks along the coastline to clear his mind. He maintains a daily ritual of sketching concepts in the mornings, treating each design as a research project to build a narrative around a concept. Upcoming projects for 2021 include a recently completed Sydney harborside project—a contemporary interpretation of a Californian bungalow featuring an art collection—and the continued development of new furniture pieces using quality Australian materials. His dream projects involve collaborating with like-minded clients in inspiring locations, with a focus on quality craftsmanship and artisanal celebration, such as designing a stand-alone home in North America or a one-off eco-friendly villa. #DanielBoddam #AustralianDesign #InteriorDesign #FurnitureDesign #CoastalLiving #ArchitecturalProjects #MaterialPalette #ArtisanalCraftsmanship

Architects Noam Dvir and Daniel Rauchwerger, founders of the New York-based firm BoND (Bureau of Noam and Daniel), share insights into their design philosophy, creative process, and the unique challenges and inspirations behind their projects. Having met in 2010 at the Venice architecture biennial and later forming BoND in 2015, the duo has become known for their nuanced approach to physicality and use in design, particularly in New York City and Fire Island. The discussion highlights the specific considerations for working on Fire Island, a narrow stretch of land susceptible to environmental factors like climate change and sea-level rise. Dvir and Rauchwerger explain how these environmental realities, combined with the island's rich Modernist architectural legacy, necessitate innovative design solutions. They detail how new ground-up constructions must be elevated significantly, prompting questions about the aesthetics of the house's base when typically seen nestled within dunes. The architects also touch upon the increasing sophistication of buildings and the challenge of incorporating technology without making it part of the problem. Material choices are also evolving; for instance, the rising cost of traditional cedar has led them to explore alternative wood materials, such as a silvery-toned wood from Texas that offers easier assembly and application. BoND's approach to renovating existing Modernist homes on Fire Island involves viewing the house as a cohesive whole rather than focusing on isolated areas. They aim to unify design elements, such as extending cedar siding where it wasn't originally present, and infuse utilitarian spaces like bathrooms with humor and sexiness. Custom furniture design plays a crucial role in re-imagining social conditions within these homes, creating spaces for various interactions, from pre-dinner gatherings to intimate conversations on a rainy night. The architects emphasize the intentional orchestration of social situations in their designs, creating platforms for living and socializing that encourage interaction and engagement. They strive for openness and connectivity between spaces, maximizing the dramatic interplay with the surrounding landscape. Their client relationships are deeply integrated, often stemming from personal connections and shared communities. Many clients are younger, having acquired homes post-Covid, and have specific priorities, such as cooking, which BoND meticulously addresses in their designs for these often smaller spaces. The firm's background in architecture journalism significantly influences their project approach, with a strong emphasis on narrative and storytelling. Each project is seen as an opportunity to create a unique story or fantasy that captures the imagination of their community. BoND does not differentiate significantly between commercial and residential projects, applying a consistent "style of thinking" that seeks unique elements within each program. They find excitement in New York City lofts, particularly in understanding and integrating the existing character of a space into new designs, distilling its core attractive qualities. Art serves as a major driver in BoND's work, viewed as a reflection of cultural attitudes and a source of aesthetic inspiration for color palettes and contextual contrasts. They often select art for their projects, maintaining relationships with artists to stay attuned to cultural trends. While they consider architecture a beautiful craft rather than an art form, they acknowledge art's role as an emotional and personal component of a home. Dvir and Rauchwerger also share insights into their partnership, highlighting their complementary strengths and the collaborative nature of their work, with Noam as the managing partner and Daniel as the creative director, though both are deeply involved in all project phases. Finally, they discuss the concept of "sexiness" in architecture, defining it as a cultural construct and an integral part of their clients' desire topology. This manifests in design decisions, such as the placement of an outdoor shower or views within a house, aiming to create a sense of "flirty intrigue" that makes people look and feel great in their spaces. #BoNDArchitects #NoamDvir #DanielRauchwerger #FireIslandDesign #ModernistArchitecture #SustainableDesign #InteriorDesign #CustomFurniture #ArchitecturalJournalism

This article features an interview with Randy Rubin, co-founder of Crypton, a company that has been a significant force in the textile industry since 1993. Crypton specializes in creating a 'super fabric' that is moisture-resistant, stain-resistant, antimicrobial, and breathable, while also adhering to green ideals. The fabric is widely used in various sectors, including major hotels (Hilton, Marriott, Wyndham), food chains (McDonald’s), healthcare institutions, and public buildings. The interview delves into how Crypton, initially known for its practical performance, is now appealing to luxury design clients. Randy Rubin explains that the company has made substantial advancements in chemistry and equipment over the past three years, allowing them to produce Crypton fabrics with a higher-end look and feel. These new offerings include gorgeous textures and a wider range of colors, moving beyond the previously more utilitarian aesthetic. The goal is to provide design freedom and flexibility without compromising the fabric's core performance attributes. Rubin highlights specific technological changes, particularly the shift to greener chemistry. Six years prior, Crypton began using C6 chemistry and silver ion biocides, and three years before the interview, they launched Crypton 2.0, incorporating bio-based components. This marked a significant change, with all products manufactured from January 2013 onwards being Crypton 2.0. She notes the complexity of making even minor alterations to their products, given that Crypton has produced over 100 million yards of fabric. Each fabric type, such as plush or woven, undergoes different processes to meet Crypton's rigorous standards. Mills require licenses to use their technology and must pass all tests to carry the Crypton name, ensuring quality and consistency. The interview also covers the evolving demands of Crypton’s diverse clientele. Healthcare clients are seeking more residential and hospitality-like aesthetics, desiring lighter and brighter fabrics while still requiring bleach-cleanable and MRSA-resistant materials. The hospitality industry, on the other hand, is increasingly prioritizing texture. Crypton's advancements now allow them to offer highly textured fabrics that still retain their performance characteristics. Rubin discusses the impact of these innovations on Crypton's business, noting a significant increase in order volume, with a backlog higher than in 2009. She attributes the company's success to its independent and creative work culture, attracting bright, pragmatic, and cost-attuned individuals. She shares the origin story of Crypton, which began when her husband, Craig Rubin, inspired by the disposable diaper industry, saw a way to patent antimicrobial, stain-resistant, and water-resistant fabrics. Randy Rubin's legal background helped secure the patent, laying the groundwork for the company’s success. She reflects on the unexpected scale of Crypton's achievements over two decades, emphasizing the thrill of building the company with her husband and aiming to make Crypton a household name globally. #CryptonFabric #TextileInnovation #StainResistantFabric #MoistureResistant #AntimicrobialFabric #GreenChemistry #LuxuryDesign #HospitalityDesign #HealthcareDesign