Neocon Chicago embraces sensory experiences and Bauhaus

The METROPOLIS Sustainability Lab is returning to NeoCon, offering insights, tools, and inspiration for the architecture and design (A&D) industry to create spaces that positively impact both people and the planet. This year's Lab, themed "Material World," will be located on the 11th floor of the Mart and focuses on showcasing cutting-edge innovations in healthy, circular, and regenerative materials and manufacturing processes. Over 20 sustainable materials and products, suitable for various project types and sizes, will be featured. Key exhibits include "Designing from the Soil Up," a furniture installation by Common Object Studio, which blends regenerative agriculture with material upcycling. Additionally, Planet Positive Award-winning projects will be displayed, highlighting breakthrough material strategies. Special activations from industry leaders like Carnegie, Impact Acoustic, Lutron, and Mohawk will demonstrate planet-friendly design solutions that also prioritize human well-being. Among the featured products, 3form's Know New Plastic initiative demonstrates a commitment to sustainability through advanced recycling technologies, converting hard-to-recycle plastics into architectural materials, reducing emissions by 25% compared to virgin materials. BIOME introduces Droplet, a self-watering planter that draws moisture from the air, promoting healthier indoor air quality and well-being. Calyx by Claridge presents MIX Contemporary Mobile Whiteboards, customizable dry-erase boards and tackboards made from FSC®-certified ash wood, utilizing landfill-destined lumber. Keilhauer offers Dais, a sustainable seating solution with an airy frame and oversized cushion, constructed from FSC® Certified Wood and biobased foam. Fry Reglet’s Lighting Systems combine metal fabrication with LED technology for various applications, offering extensive options. Behr Paint Company showcases paints and coatings with reduced chemical emissions and enhanced durability, many of which are GREENGUARD Gold-certified and packaged in recyclable containers. Shaw Contract emphasizes PVC-free products like EcoWorx™ Resilient and EcoWorx® BIO, designed for circularity, improved material health, and reduced environmental impact. Garden on the Wall curates preserved gardens for soothing interior spaces, meeting rigorous environmental standards and offering rejuvenation and end-of-life management programs. Impact Acoustic's Noren acoustic curtain champions sustainability with recycled and reusable materials, circular design, and a digital product passport. American Biltrite introduces ABPURE® Infinity, a carbon-neutral rubber flooring made with renewable natural gas, reducing emissions and offsetting its footprint. Lutron automated window treatments contribute to energy savings and extend furnishing life, offering numerous sustainable fabric options. Mohawk Group’s Duracolor® Tricor Fiber is a solution-dyed nylon that uses no water in the dyeing process and includes 100% recycled content when used with EcoFlex ONE modular carpet backing. Econyl by Aquafil presents the ECONYL® Bespoke Collection, made entirely from waste materials and infinitely recyclable. Hyphyn offers the world’s first biodegradable vinyl upholstery, proven to biodegrade over 90% within two years in landfill conditions. Clarus features Float, a sleek, wall-mounted glass board made with responsible manufacturing processes and aiming for 100% renewable energy by year-end. Duvaltex’s CLEAN IMPACT TEXTILES® biodegrade in landfills and are made from upcycled ocean waste and recycled polyester. Lingrove highlights ekoa® natural wall protection made from ultra-strong flax, a rapidly renewable plant. Milliken’s WellBAC® Cushion Backing, made from recycled materials, comes standard on all carpet tile products, enhancing acoustics and ergonomics. Carnegie offers 100% PVC-free commercial textiles and acoustic solutions, including Xorel textiles made from sugarcane and Kirei PET from recycled plastic. Parador/Matter Surfaces provides premium engineered wood, laminate, and vinyl flooring, with 99% waste recycling and solar-powered production. ZIP WATER’s HydroTap delivers boiling, chilled, and sparkling water on demand, eliminating single-use plastics and using water-efficient technology. Turf Design’s expanded Wood and Stone Textures collection brings nature-inspired patterns to its recycled PET felt material, minimizing ink use for sustainable aesthetics. Allsteel’s Beyond® architectural system significantly reduces carbon impact and construction waste through repeated reuse and reconfiguration. #SustainabilityLab #NeoCon #MaterialWorld #SustainableDesign #EcoFriendlyMaterials #CircularEconomy #GreenBuilding #ArchitecturalInnovation #InteriorDesign

The Shed, located in New York, United States, is a non-profit cultural organization dedicated to commissioning, developing, and presenting original works of art across various disciplines for diverse audiences. Completed in 2019, the building, known as the Bloomberg Building, was designed by Diller Scofidio + Renfro in collaboration with Rockwell Group. The facility spans an area of 18,500 square meters and is notable for its physical adaptability, engineered to accommodate a wide range of artistic endeavors. The Bloomberg Building features an eight-level base structure. This base includes two dedicated levels for gallery space, providing ample room for art exhibitions. Additionally, it houses the versatile Griffin Theater, designed to host performances and events. The upper levels of the base are home to The Tisch Skylights, which encompass a rehearsal space, a creative lab for local artists, and a skylit event space, offering flexible areas for artistic development and public engagement. A key architectural feature of The Shed is its telescoping outer shell. This shell can be deployed from over the base building and glides along rails onto an adjoining plaza, creating an expansive outdoor performance area known as The McCourt. This innovative design allows the building to physically transform, effectively expanding its footprint and capacity to host large-scale performances, installations, and events, responding dynamically to the needs of different artistic presentations. The project involved a comprehensive team of consultants and specialists to bring its complex design to fruition. Diller Scofidio + Renfro served as the lead architects, with Rockwell Group collaborating on the architectural design. Key consultants included Thornton Tomasetti for structural design, facade engineering, and kinetic engineering services, highlighting the intricate movable structure. Jaros Baum & Bolles handled MEP and fire protection, while Vidaris provided energy modeling consultation. Lighting design was managed by Tillotson Design Associates, and acoustic consultation by Akustiks. Construction management was overseen by Sciame Construction. Vertical transport consultants Van Deusen & Associates contributed to the building's internal logistics. Specialized consultants for the kinetic systems included Hardesty & Hanover, and Fisher Dachs Associates served as theater consultants, ensuring the functionality of the performance spaces. Cimolai was the structural steel fabricator, and Vector Foiltec fabricated the ETFE (Ethylene TetrafluoroFluoroethylene) material used in the outer shell. Additional expertise was provided by Code Consultants Inc. for building codes, Ducibella Venter & Santore for security, Entek Engineering for facade maintenance, James R. Gainfort for waterproofing, and Construction Specifications Inc. for specifications. Graphic design and wayfinding were handled by Other Means. The project's photography was primarily captured by Timothy Schenck, documenting the building's exterior and interior spaces. #CulturalArchitecture #ExhibitionCenter #NewYork #DillerScofidioRenfro #RockwellGroup #KineticArchitecture #PublicArtSpace #ArchitecturalInnovation #BuildingTransformation

The SANDOW Design Group, in partnership with 3form for the third consecutive year, introduces its DesignScene lounge at NeoCon 2024, located on the 11th floor of The Mart in Chicago. This year's lounge, titled "Colorblock," explores the concept of stepping inside color through an intricate display of shapes and contrasting shades. The design draws heavily from the art historical technique of color blocking, which involves juxtaposing colors from opposite ends of the spectrum, echoing modernist movements from the 20th century. Cindy Allen, editor-in-chief of Interior Design, explains that the Colorblock theme builds upon the previous year's "Colorplay" and uses graphic techniques to define different brand areas within the lounge, with warm reds and pinks for Interior Design and cool greens for Metropolis. The color palette itself is inspired by the work of Le Corbusier, particularly his storied house in France. Ryan Smith, chief creative officer at 3form, shares that both he and Allen were independently drawn to Le Corbusier’s aesthetic as inspiration. Smith notes that Le Corbusier's house features a muted palette, a characteristic intentionally carried into the DesignScene lounge. The colors chosen for the 2024 space are slightly subdued to ensure that all areas of the space feel activated, creating an inviting atmosphere rather than an overwhelming one. The design integrates bold graphics and unexpected installations on walls, floors, and ceilings. Smith explains that the graphic patterns throughout the lounge are informed by the existing architecture of the space, leveraging shadows and edges to create a dynamic interplay of lines and color blocking. This approach ensures that every shade feels integrated and purposeful within the environment. The lounge features materials from various partners to bring the color scheme to life. Flooring is provided by Shaw Contract, wallcoverings by Momentum Textiles and Wallcovering, and paint by Behr. This collaborative effort transforms the space into a three-dimensional colored canvas, offering visitors a unique sensory experience. A key element of the lounge is an expansive communal table, designed to facilitate connection and relaxation, offering a welcome reprieve from the busy NeoCon show floor. Additionally, HBF has contributed to the lounge by creating an activation space with its signature furnishings, offering comfortable seating for attendees with weary feet. Beyond the aesthetic experience, DesignScene serves as a hub for industry engagement and knowledge sharing. Attendees can observe Interior Design editors preparing the NeoCon ShowDaily newspaper and participate in ongoing industry roundtables with design leaders. The lounge also hosts rising stars selected for the "First NeoCon" program, a partnership with The Mart, supporting emerging talent in the design field. The Sustainability Lab by Metropolis is another integral part of DesignScene, showcasing sustainable products, providing curated readings and resources, and offering additional spaces for visitors to relax and recharge. The collaboration between SANDOW Design Group and its partners aims to create a deeply immersive and informative experience rooted in design innovation and community. #NeoCon2024 #ColorBlocking #InteriorDesign #3form #LeCorbusier #DesignScene #ArchitecturalInspiration #SustainableDesign #DesignInnovation

Nespresso has collaborated with Universal Design Studio to open a new boutique concept store on New York's Madison Avenue, aiming to re-establish coffee and espresso as an art form rather than just a quick caffeine fix. This is the second such boutique, following the inaugural opening in Cannes in May, and it is designed to engage all five senses in the coffee experience. The design ethos draws heavily from New York's distinctive urban landscape and artistic heritage, incorporating elements such as disc fixtures that echo the lighting found in the Met Breuer and an exposed brick wall reminiscent of a classic Manhattan walk-up apartment. The 2,500 sq ft boutique spans two floors and offers a comprehensive journey through the world of coffee. Visitors can sample limited-edition flavors, receive guidance on selecting a blend that suits their individual palate, and explore Nespresso’s signature VertuoLine machines and aluminum pods. A consistent design element throughout the store is the use of Alpi wood tables, uniquely adorned with used ground coffee, which subtly reinforces the product's origin and sustainability efforts. The lower level of the boutique houses the Lab Kitchen, a dedicated space where customers can experiment with different coffee recipes or participate in 45-minute educational classes, enhancing their understanding and appreciation of coffee preparation. In line with Nespresso's global sustainability initiatives, the Madison Avenue boutique, like all other Nespresso stores worldwide, facilitates the recycling of used coffee capsules. Adding an artistic dimension to the space, Nespresso commissioned New York artist Daniel Rozin to create an exclusive installation for the boutique. This artwork is composed of 832 tiles made from compressed aluminum, repurposed from used Nespresso pods. Rozin integrated four motion sensors into the piece, allowing it to ripple and respond dynamically to the movements of people within the store, thereby creating an interactive and fluid visual experience. Rozin expressed his intention to create an effect that conveyed fluidity, contributing to the boutique's sensory appeal. For those on a tighter schedule, the boutique features a Take Away Bar, offering a selection of lattes and pastries sourced from Aux Merveilleux de Fred. However, the comprehensive and immersive design of the store is intended to encourage visitors to linger and fully engage with the Nespresso experience. The address of this new Nespresso boutique is 935 Madison Avenue, New York. The partnership with Universal Design Studio underscores Nespresso's commitment to creating engaging retail environments that elevate the perception of coffee consumption. #NespressoBoutique #UniversalDesignStudio #NewYorkDesign #CoffeeExperience #RetailDesign #SensoryMarketing #SustainableDesign #MadisonAvenue #DanielRozinArt #CoffeeCulture

Boston City Hall, a prominent example of Brutalist architecture, is often perceived as an 'eyesore' due to its stark concrete design. However, a group of experimental artists from the Boston-based collective Mobius is transforming this perception through an elaborate art installation. Marilyn Arsem, a Mobius member, expresses awe at the building's vast, open lobby and its unique architectural features, including windows soaring nine stories high. She notes the striking contrast between the building's imposing exterior and the intriguing details within. The Mobius collective is preparing for a May 25 installation that will involve 13 artists working in various mediums, aiming to breathe new life into the solemn gray interior. Jane Wang, another Mobius member, details some of the planned performances. One piece by Joanne Rice and Tom Plsek will feature a trombone and tap shoes, with Plsek starting on the fifth floor, creating an acoustic interplay throughout the building. Performance artist Sandrine Schaefer will manipulate the speed of the escalators to alter visitors' sense of time. Wang herself will be knitting an abstract wire sculpture over four hours and will project a video, a collaborative effort of 95 artists and 21 composers, onto a lobby wall. Wang admits that while she still finds the building aesthetically challenging, her involvement has fostered a sense of fondness for it, recognizing its unique personality and pockets of beauty. She describes it as an "ugly, beautiful thing," highlighting the complex emotional response it evokes. Patty McMahon, the city registrar who has worked in Boston City Hall for nearly 30 years, is well aware of the building's polarizing reputation, often hearing it described with terms like "wet cement" and "hideous." She acknowledges the impracticalities of the Brutalist design, such as the difficulty of hanging decorations on concrete walls, exposed wiring, and the lack of windows on her floor. McMahon notes that different administrations have approached the building's challenges differently, with the current Walsh administration focusing on making it more comfortable, pretty, and light. This effort is part of the 'Rethink City Hall' initiative, a city planning project aimed at reimagining the building's use and public perception. Chris Grimley, a historical consultant from the design firm over,under, is involved in the 'Rethink City Hall' project. He explains that the building's original design was intended to promote openness and accessibility, allowing people to move freely through its various spaces, including an elevated courtyard with skylights. This design reflected high-minded democratic ideals, part of a larger urban renewal effort to revitalize downtown Boston and restore public trust in government. However, neglect and modern security concerns, particularly post-9/11, have led to restricted access, reducing the building to a single entry point. Grimley believes the civic spirit of the building can still be revived, which is where the Mobius artists play a crucial role. Artist Jesse Kaminsky describes his contribution: a "tentacular, low-level inflatable sculpture" made of colorful Tyvek. This piece, inspired by early science fiction, will undulate with a fan and seep over a ledge, introducing a sense of comical unease into the building's severe environment. Kaminsky aims for his soft, floppy, and forgiving sculpture to contrast with the building's inherent order and severity. He views the project as an opportunity to introduce something uncertain and acknowledges the possibility of failure, which he considers vital for the creative and even municipal process. For the Mobius artists, Boston City Hall, despite its perceived flaws, has become a rich source of inspiration, demonstrating that even a controversial structure can be reinterpreted and found worthy of appreciation. #BostonCityHall #BrutalistArchitecture #ArtInstallation #MobiusCollective #UrbanRenewal #ArchitecturalRedesign #PublicArt #CityPlanning #CreativeProcess

The MetropolisLikes 2024 Awards highlight a significant shift in interior design, emphasizing sustainability and responsibility in product development. This year, 40 products were selected from 169 submissions presented at NeoCon and Design Days in Chicago, reflecting a growing industry consensus that designers have a responsibility to recommend sustainable options to their clients, a sentiment echoed by 73 percent of designers in THINKLAB's 2024 U.S. Design Industry Benchmark Report. Manufacturers have responded by integrating a variety of eco-friendly attributes into their new releases. Among the winning products, a substantial number utilize biobased, biosourced, or natural materials. For wood-based products, FSC certification is a consistent standard. Many items are either certified carbon neutral or incorporate carbon-sequestering materials, and the majority are designed with sustainable end-of-use or end-of-life solutions, aiming for 85 to 100 percent recyclability, biodegradability, or compostability. This comprehensive approach to sustainability marks a new era where beauty and environmental responsibility are intertwined in furnishings and fixtures. The awards are categorized into Acoustics, Flooring, Furniture, Lighting, Outdoor, Systems & Solutions, and Textiles & Wallcoverings. In the Acoustics category, products like Impact Acoustic Archisonic Cotton tiles are noted for their use of cotton cellulose, a 100 percent natural by-product of the textile industry, and their recyclability. Turf Arcade offers compression-molded ceiling tiles made from recycled PET felt with high noise reduction coefficients. Flooring innovations include ABPURE Infinity Neutral, a 3 mm rubber sheet flooring that achieves carbon neutrality without carbon credits by using renewable natural gas from organic waste. Bentley's Pacific Standard Time carpet collection is PVC- and Red List–free, Cradle to Cradle Certified, and produced in a carbon-neutral facility. HMTX Industries' Teknoflor Healthscapes uses thermoplastic polyurethane as a vinyl alternative for enhanced durability and infection control, being Red List–free and easy to maintain. Mannington Commercial's Liminal Space carpets are 105 percent carbon offset (cradle to gate). Mohawk Group's Shape Theory is Red List–free and Living Product Challenge petal certified, supporting net-zero carbon emissions by 2040. Patcraft's Waste Knot is a 100 percent PET hybrid flooring material that is fully recyclable. REGUPOL Upscale offers luxury rubber tile and plank made from recycled tire rubber and EPDM chips. Shaw Contract's EcoWorx Resilient is a PVC-free, fully recyclable flooring product with high static load limits and superior stain resistance. Tarkett's Layered Duality collection includes soft and hard surface patterns, with soft surfaces treated with Eco-Ensure, a C2C Certified Material Health Certificate™ at the Platinum Level, and is part of Tarkett’s ReStart® take-back program. Furniture highlights include Allsteel Mat Chair, crafted from renewable hemp and eelgrass; Arper Catifa Carta, with a seat made from PaperShell (paper, steam, and bio-resin) that can be returned for biochar conversion, making the chair carbon-negative; Bernhardt Design Ice Tables, handblown glass tables designed by Daniel Germani; BOSS Design Frida, a focus pod easy to disassemble for recycling, containing 10.95 percent recycled materials and 85.19 percent recyclable materials; Division Twelve Crux, a certified carbon-neutral collection made with FSC-certified wood; Haworth Breck, a lightweight office chair (approx. 30 lbs) that is 94 percent recyclable and contains 58 percent recycled content; Heller Fortune Chair, made from 100 percent recyclable postconsumer plastic; Keilhauer Dais, a certified carbon-neutral chair designed by Form Us With Love; Mantra Inspired Furniture Unity Table Collection, flat-packed, 100 percent biodegradable, compostable, and Red List–free; Martin Brattrud Azusa tables, with FSC-certified wood tops and formaldehyde- and PVC-free materials; Model No. Esker Chair, 3D printed with resins upcycled from plant waste and featuring carbon-negative biochar pigment; and Teknion Aarea, designed for easy disassembly, service, and full recycling. In Lighting, Focal Point Polina is an acoustic luminaire made with a dual-density PET shade for sound absorption. Outdoor products feature Janus et Cie Chill Collection, made from JANUSstone (fiberglass-reinforced concrete) in nature-inspired matte colors, and Tuuci Meritage Collection, offering various seating options for hospitality and commercial settings. Systems & Solutions include Allermuir Crate Divide Curved, an adaptable steel structure with 50 percent recycled content and 99 percent recyclability; Framery Smart Pod, featuring sophisticated technology and class-A soundproofing; Hightower Toward Modular, a collection adhering to Living Building Challenge Red List 4.0 guidelines; Knoll Cove Collection, a minimalist collection for private offices using a wood finishing process with carefully selected veneers; Good Plastic Company Polygood, a sustainable material made from 100 percent recycled plastic and 100 percent recyclable via a take-back program; and Urban Evolutions Dimant Medallion Wood Wall Panel, made in the USA with solid wood and MDF exceeding Eco-Certified Composite Standard. Textiles & Wallcoverings include Arc-Com Explorer Collection, LBC Red List–free and REACH compliant; Brentano Patchwork, made from 45 percent postconsumer recycled polyester and 55 percent cotton; CF Stinson Sea Change, utilizing SEAQUAL YARN® made from reclaimed ocean plastic; HBF Textiles Memorable Collection, with fabrics made from 100 percent postconsumer recycled plastic and sustainably produced leather; Kvadrat Ame, the first Kvadrat textile woven with recycled polyester from textile waste; Ultrafabrics Volar Bio, with 66 percent recycled, rapidly renewable, and biobased ingredients; and Wolf-Gordon Crossings by Dorothy Cosonas, an upholstery collection of durable patterns. Momentum Textiles & Wallcovering Circon is the first bio-sourced, carbon-neutral wallcovering substrate, offering sustainability comparable to conventional vinyl options. #MetropolisLikes #DesignAwards #SustainableDesign #EcoFriendlyProducts #InteriorDesign #NeoCon #DesignDays #CarbonNeutral #RecycledMaterials

This article details a unique advertising campaign by Sonos, a home sound system manufacturer, which transformed a New York City subway shuttle train into a moving art installation. The campaign utilized the distinctive black-and-white cartoons of Mark Alan Stamaty, covering the entire train, both inside and out, including ceilings and seats. This initiative was part of a larger branding effort for Sonos's first retail store opening in SoHo, New York City. The project originated when Sonos, through the branding agency Partners & Spade, sought Stamaty's artistic contribution for the interior design of their new store. The store featured soundproof listening booths, shaped like small houses, each with a different interior theme. Anthony Sperduti, co-founder of Partners & Spade, a long-time admirer of Stamaty's work, particularly his children's book "Who Needs Donuts?", commissioned him for the store's design. Stamaty immersed himself in the vibrant street life and music culture of SoHo to create six detailed drawings at 25% scale, specifically tailored for the listening pods, integrating features like shelves and ceilings into his artwork. Beyond the subway train, Stamaty's artwork was also applied to various other media as part of the campaign. This included the Sonos store's windows, shopping bags, advertisements in 'T' (The New York Times fashion/interior design Sunday supplement magazine), and even billboards near Sonos headquarters in Boston. Fernando Music, managing director of Partners & Spade, emphasized the agency's belief in using design to solve business problems and highlighted the campaign's success in generating widespread media coverage for the store's opening. The campaign's overarching message was about how Sonos can transform a home with music, a concept reflected in the diverse decoration of the listening pods, each designed to evoke a different home experience. Whitney Walker, general manager of the Sonos store, affirmed the campaign's remarkable success in New York City, noting its direct benefits not only for the flagship store but also for Sonos's retail partners. This collaboration between Sonos, Partners & Spade, and Mark Alan Stamaty demonstrates an innovative approach to advertising, effectively integrating art into a large-scale commercial endeavor to create a memorable and immersive brand experience for the public. #AdvertisingCampaign #SubwayArt #MarkAlanStamaty #Sonos #PartnersAndSpade #SoHo #BrandExperience #InteriorDesign #NewYorkCity

STUDIO K's design for BIÂN, Chicago's premier 25,000-square-foot health and social club, continues to exemplify a holistic and collaborative approach three years after its inception. Located in a bi-level commercial building, BIÂN integrates fitness, recovery, nutrition, alternative therapies, socialization, and spa services, offering a comprehensive "biosphere for living." The design prioritizes supporting the provided services rather than merely serving as a backdrop for social media content, distinguishing it from facilities that focus on fleeting trends. The interiors of BIÂN eschew popular, temporary design trends in favor of a timeless aesthetic that complements the club's offerings. Karen Herold, designer and principal of STUDIO K, emphasizes the extensive use of natural materials such as wood, leather, textiles, and lime plaster, layered to create a sense of warmth and welcome. The design team addressed the challenges posed by the industrial architecture by incorporating highly textural, soft, and light materials, accented with elements of black wood and steel. A talented lighting designer contributed to washing the entire space in a soft glow, enhancing the overall ambiance. This fusion of maximalist textures with minimalist interventions results in what is described as "industrial zen," where historical elements are subtly articulated to create a visually rich yet calming environment. Upon entering BIÂN, guests are greeted by a round apothecary table, setting the tone for the journey through various programs. The design employs a neutral palette of creams, whites, and taupes, with subtle shifts and accents of inky blue furnishings and living greenery, guiding members seamlessly from one area to another. The use of different textiles, such as linen and wool, manipulates light and transparency, while variations in slatted surface treatments and wood grain patterns manage the acoustic vibrations within the rooms. Each distinct ecosystem within BIÂN is designed to cater to the specific moment while facilitating an artful transition to the next, creating a cohesive and enriching experience for members. Notable features include a 6-foot round table at the entrance, combining a white oak reception desk with a full-sized concrete sink for skincare sales. The social lounge utilizes white oak and beechwood to foster a warm and calming atmosphere, featuring a 14-foot custom communal table and a main bar finished in leather. A staircase with wood louver screens connects the social lounge to the gym and spa facilities, discreetly concealing the medical facility behind. The lower level hosts a sushi counter adjacent to the gym, characterized by blue vinyl upholstery and plaster raked columns. A sound-insulated listening room, available for rent, provides members with a private space featuring a specialty entertainment system and a rotating selection of vinyl records. Locker rooms offer amenities like a steam room, cold plunge, and customized shower experiences, while a relaxation lounge on the lower level provides custom-designed chaise lounges for patrons awaiting or recovering from treatments. Patient rooms within the medical office suite maintain a serene, spa-like interior while adhering to standard facility regulations. The club also boasts multiple reformer studios for Pilates and custom gym cubbies and seating outside the main fitness studio. An expanded 10,000-square-foot co-working space, extending from the main social lounge, offers members areas for work and relaxation. This new area includes a rust-colored leather-wrapped bar inspired by sushi counters, serving food and beverages. The successful design elements, including architectural finishes, furniture, decorative lighting, and curated artwork, are consistently echoed throughout these new spaces. Mar Soraparu, Co-Founder & Chief Wellness Officer of BIÂN, highlights that the design's integration of philosophies, unique features, and thoughtful lighting choices create a luxurious and comfortable environment that enables members to pursue a more vital life. #IndustrialZenDesign #WellnessCenter #InteriorDesign #HealthClub #NaturalMaterials #BiLevelCommercialSpace #StudioK #ChicagoDesign #HolisticDesign

The article discusses the architectural installation "Spirit of the City" by London-based United Visual Artists (UVA) at A/D/O in New York, presented during New York Design Week. This installation is a collaboration with Mini, hosted in their innovative creative space, A/D/O. The primary goal of the installation is to offer a reflective experience within the dynamic urban environment, metaphorically and physically mirroring its surroundings and New York City at large. The installation consists of 9-foot-high modular columns that revolve, creating an immersive experience for visitors. The rotation patterns are not arbitrary; they are based on extensive research into human activity within the city. This research allowed UVA to develop a 24-hour algorithm that dictates the movement of the columns, transitioning from tranquil rhythms to more urgent, dynamic movements. As visitors navigate the space around these colossal totems, they can observe subtle shadows cast onto the ground, forming intricate, poetic patterns that respond to the kinetic energy of the columns. The surface of the columns themselves presents varying perspectives, shifting from serene sky blues to the grittier, industrial aesthetics of A/D/O's creative hub. This visual transformation further emphasizes the interplay between the installation and its urban backdrop. UVA, founded in 2003, is known for its art practice that integrates technology to create experiences that often extend beyond conventional physical boundaries. Their previous works have been showcased globally in prestigious institutions such as the Victoria and Albert Museum and YCAM in Japan. Matt Clark, founder of UVA, poses a fundamental question through "Spirit of the City": do human activities shape urban landscapes, or do urban landscapes, in turn, define human activities? This philosophical inquiry underpins the interactive and reflective nature of the installation. A/D/O itself, located in a converted warehouse in Brooklyn, opened the previous year, featuring a diverse array of design-focused retail, bars, and restaurants, aligning with Mini's broader design agenda. Mini's head of brand strategy and business innovation, Esther Bahne, states that Mini believes in design's capacity to foster a more humane world. A/D/O initially launched with Design Academy, a three-day festival for professional designers to explore cultural themes. "Spirit of the City" marks the space's first major showcase for NYCxDesign since its opening and was on display until 2 September. The installation, through its thoughtful design and interactive elements, invites contemplation on the symbiotic relationship between people and their urban surroundings. #NewYorkDesignWeek #ArchitecturalInstallation #UnitedVisualArtists #UrbanEnvironment #AdoSpace #MiniCollaboration #KineticArt #PublicArt

The article explores the concepts of "design thinking" and "design feeling" in the context of everyday objects and their impact on human experience. While design thinking focuses on optimizing user experience and functionality, "design feeling" emphasizes the ability to align objects with broader socio-cultural contexts, thereby enriching the perceived quality of design. This concept becomes particularly relevant in an era marked by digital inconsistency and economic uncertainty, where people seek tangible reassurance and comfort through their surroundings. The article highlights that many everyday objects are often poorly designed, leading to incoherent routines. Design thinking attempts to streamline these routines, but it is insufficient to address the deeper meaning and emotional connection individuals form with objects. "Design feeling" aims to bridge this gap by considering the intangible aspects of design that resonate with contemporary societal shifts. Several contemporary design pieces are presented as examples of "neo-transitional objects." These objects are characterized by their mild appearance, cozy feel, soft bends, and light-porous colors. They offer a sense of comfort and stability in a world increasingly dominated by digital abstraction and economic precarity. The term "neo-transitional objects" is derived from psychologist Donald Winnicott's concept of "transitional objects," which are items like teddy bears or blankets that help children navigate the transition from dependence to individuality. Specific examples of such designs include the "Up" lamp by Mattias Ståhlbom for Muuto, "Apps" by Richard Hutten for Artifort, and the "Basset" armchair by Iskos-Berlin for Versus. These designs are described as embodying the transition from a more tangible past to a digitally defined future, providing comfort rather than unease. The "Mega" series by Chris Martin for Massproductions and the "Haiku" sofa by GamFratesi for Fredericia are also cited as exemplifying this trend, balancing Italian expressiveness with Nordic strictness to create beautiful, reassuring pieces. Luca Nichetto's work, such as the "Stewie" lamp for Foscarini and the "N=N" collection with Oki Sato (Nendo), demonstrates weightless lines and cozy colors that sublimate the objects. Similarly, Karim Rashid's "Float" sofa for Sancal showcases a softening of tones, contributing to the overall sense of cognitive kindness. These designs aim to provide a sense of belonging and familiarity, helping individuals cope with the uncertain reliability of a digitally-influenced reality. The article concludes by emphasizing the importance of designing objects with layered aesthetic meaning to foster a sense of being "at home" amidst increasing intangible complexity. #DesignFeeling #NeoTransitionalObjects #ProductDesign #InteriorDesign #ContemporaryFurniture #PsychologyOfDesign #LucaNichetto #RichardHutten #GamFratesi

The Baiyunting Culture and Art Center, designed by Dushe Architectural Design Co, represents a successful urban renovation project in Nanjing, China. This initiative transformed a former food market into a vibrant cultural hub, highlighting a practical application of the 'Urban Renovation' concept popularized in cities like Shanghai and Shenzhen. Dushe Architectural Design Co provided comprehensive services for the project, encompassing architectural design, interior design, and landscape design. This integrated approach ensured a cohesive and functional transformation of the existing structure. The project involved converting an old food market, which inherently brought challenges related to adapting an existing building with a different original purpose. The design team focused on creating a modern visual arts center while preserving elements of urban memory and context. The structure spans an area of 25,000 square meters and was completed in 2014. The transformation of a utilitarian food market into a cultural and artistic space demonstrates an effective strategy for urban revitalization, providing new public functions within established urban fabrics. Key collaborators in the project included KGM International Lighting Design Co.Ltd for lighting consultation, Shanghai Dadeng Interior Design Co.Ltd for interior design, and Shanghai Ruibo Architectural Exterior Design and Consulting Co.Ltd for curtain wall consultation. The architectural direction was led by Zhang Qi Lin, with project direction by Ling Ke Ge. The design team further included Xu Qi, Zhang Ya Chao, and Zhang Jia Qi. This multidisciplinary collaboration was crucial in realizing the complex conversion and ensuring the integration of various design aspects, from the exterior facade to the interior spaces and their illumination. Materials used in the construction and renovation included wood, steel, and concrete, chosen for their structural properties, aesthetic qualities, and durability. The choice of these materials also aimed to create a contemporary feel while ensuring the longevity of the new cultural center. The building's design features elements such as windows, facades, and possibly glass, which contribute to its overall aesthetic and functional design. The project's photographs, credited to Su Sheng Liang, capture the essence of the revitalized space, showcasing its architectural details and the interplay of light and structure. The Baiyunting Culture and Art Center serves as a significant example of how existing urban structures can be repurposed to meet evolving community needs, especially in the context of China's rapid urbanization. By converting a food market into a visual arts center, the project not only saved the structure from demolition but also infused new cultural value into the Nanjing area. This approach aligns with modern urban planning trends that prioritize sustainable development and the adaptive reuse of buildings to enhance urban character and provide new public amenities. #UrbanRenovation #CulturalArchitecture #AdaptiveReuse #Nanjing #ChinaArchitecture #VisualArtsCenter #ArchitecturalDesign #InteriorDesign #LandscapeDesign

Art Nouveau, meaning "New Art," emerged in Western Europe and the United States from the 1880s until World War I. This influential art and architectural movement drew inspiration from the untamed aspects of the natural world, significantly impacting applied arts, graphic design, and illustration. Its characteristic sinuous lines and "whiplash" curves were partly derived from botanical studies and deep-sea organism illustrations, notably Ernst Heinrich Haeckel's "Kunstformen der Natur." Other pivotal publications, such as Augustus Welby Northmore Pugin's "Floriated Ornament" and Owen Jones's "The Grammar of Ornament," advocated for nature as a primary source of artistic inspiration, aligning with a generation seeking to deviate from established styles. The flowing lines of Art Nouveau symbolized a quest for artistic freedom from traditional constraints and critical expectations. The style evolved from two 19th-century English movements focused on design reform: the Arts and Crafts movement and the Aesthetic movement. The Arts and Crafts movement emphasized a return to handcraftsmanship and traditional techniques, while the Aesthetic movement promoted "art for art's sake," forming the basis for non-narrative paintings. Additionally, Art Nouveau incorporated elements of Japanese art, known as "japonisme," which became prevalent in Western markets after trading rights with Japan were established in the 1860s. The broad spectrum of artistic trends before World War I, including those in painting and the initial designs of the Wiener Werkstätte, can be broadly categorized under Art Nouveau. The term "art nouveau" first appeared in the Belgian journal "L'Art Moderne" in the 1880s, describing the work of Les Vingt, a group of painters and sculptors advocating for art reform. This group, along with many others across Europe and America, was influenced by theoreticians like Eugène-Emmanuel Viollet-le-Duc and John Ruskin, who championed the unity of all arts and rejected the division between fine arts and decorative arts. Inspired by William Morris and the Arts and Crafts movement, Art Nouveau designers aimed to integrate art and craft, creating a "Gesamtkunstwerk" or "total work of art" across various media. Notable examples of this unified approach include Victor Horta and Henry van de Velde's Hôtel Tassel, Charles Rennie Mackintosh's Hill House, and Josef Hoffmann and Gustav Klimt's Palais Stoclet dining room. Painting styles such as Post-Impressionism and Symbolism, particularly the "Nabis," also had strong ties to Art Nouveau, with designers adapting these aesthetics to applied arts, architecture, interior design, furnishings, and patterns, contributing to a cohesive and expressive style. Siegfried Bing's gallery, L'Art Nouveau, which opened in Paris in December 1895, played a crucial role in popularizing the movement and its name. However, the style's international reach was significantly bolstered by vibrant graphic arts published in periodicals like "The Savoy," "La Plume," "Die Jugend," "Dekorative Kunst," and "The Studio." "The Studio" notably showcased the bold, Symbolist-inspired linear drawings of Aubrey Beardsley. Other influential graphic artists included Alphonse Mucha, Jules Chéret, and Henri de Toulouse-Lautrec, whose poster art frequently depicted the diverse roles of women in Belle Époque society, from the independent "femme nouvelle" to the "demimonde." Female figures often appeared as fairies or sirens in the jewelry designs of René Lalique, Georges Fouquet, and Philippe Wolfers. In France, Art Nouveau was also known as Style Jules Verne, Le Style Métro (after Hector Guimard's subway entrances), Art belle époque, and Art fin de siècle. The 1900 Exposition Universelle in Paris significantly boosted its public appeal, featuring innovative structures and exhibitions like René Binet's Porte Monumentale, the Pavillon Bleu with Gustave Serrurier-Bovy's work, Bing's Art Nouveau gallery, and the Union Centrale des Arts Décoratifs pavilion. These exhibits displayed furnishings that blended new aesthetic tastes with acclaimed French craftsmanship, utilizing luxury veneers and gilt mounts in the furniture of leading cabinetmakers. Following this, the Glasgow International Exhibition in 1901 and the Esposizione Internazionale d'Arte Decorativa Moderna in Turin in 1902 further showcased European Art Nouveau luminaries. The movement adopted various names across Europe: Style nouille or Style coup de fouet in Belgium, Jugendstil in Germany, Modernista in Barcelona (championed by Antoni Gaudí), Arte nuova or Lo stile Liberty in Italy, and Sezessionstil in Austria and Hungary. In Russia, it was known as Stil' modern, while in the United States, "Tiffany Style" referred to Louis Comfort Tiffany's Favrile glass designs. Art Nouveau, though brief, served as a vital precursor to modernism, which later prioritized function over form and minimal ornamentation, influencing subsequent movements like Art Deco and inspiring graphic designs of the 1960s. #ArtNouveau #DesignReform #AppliedArts #GraphicDesign #NaturalForms #Gesamtkunstwerk #FinDeSiècle #DecorativeArts

Brooks + Scarpa, a Southern California-based architectural firm, undertook its first project in the Chicago area, designing a 2,800-square-foot courtyard residence in Evanston, Illinois. Principal Lawrence Scarpa made a deliberate choice to utilize Chicago common brick, a material locally manufactured and prevalent in the region's architecture, for this suburban home. Scarpa noted that these variegated mud-brown modules, typically considered unattractive, inexpensive, and abundant, are usually relegated to unseen areas such as rear walls and structural supports. However, in a collaborative effort with partner-wife Angela Brooks and local firm Studio Dwell, Brooks + Scarpa innovatively inverted this conventional use. They prominently featured the common brick for the front and side walls of the residence, transforming a mundane material into a key aesthetic and functional element. The street facade of the house presents a dynamic visual, appearing either predominantly solid or void depending on the viewer's perspective. This effect is achieved through bricks rotated to form twisting columns, which create a moiré-like screen. This unique design element not only provides privacy for the interior courtyard but also orchestrates an interplay of sunlight and shadow, reminiscent of a dance. Scarpa's inspiration for this dynamic facade drew from choreographer William Forsythe, a fellow professor at the University of Southern California, underscoring the artistic and experiential nature of the design. While the structure distinctly stands out from its more traditional neighboring residences, possessing a clear 'object quality,' Scarpa's objective was to 'reveal the extraordinary within the ordinary.' This approach, coupled with his first-time application of common brick in such a prominent way, elevates the residence beyond mere architecture to the status of experiential artwork. Scarpa emphasized that "Memory is based more on how we experience something than on its appearance." This statement encapsulates the core philosophy behind the project, suggesting that the true value and impact of the design lie in the unique sensory and emotional engagement it fosters with its inhabitants and observers. The residence thus becomes a testament to transforming overlooked materials and conventional architectural norms into a memorable and profound experience. #BrooksScarpa #ChicagoCommonBrick #SuburbanArchitecture #CourtyardResidence #EvanstonIllinois #ArchitecturalInnovation #ExperientialDesign #MaterialTransformation

Petra, a new showroom founded by Monica Khemsurov, co-founder of Sight Unseen, made its debut at NYCxDESIGN, introducing a curated collection of artistic hardware. The brand aims to revitalize the popularity of sculptural hardware designs, drawing inspiration from Khemsurov's observations during her travels. Petra focuses on offering select boutique hardware pieces and exclusive, commissioned works from independent designers, emphasizing architectural detail and artistry. The inaugural collection features hardware from 27 designers and brands, providing solutions for various applications including cabinet knobs, drawer pulls, door handles, switch plates, appliance handles, curtain tiebacks, and towel bars. A notable inclusion in this debut is a new line of hardware from designer Pamela Love, which showcases hand-carved cabinet knobs in organic forms such as eyes, pomegranates, and urns. The collection also highlights historical designs through licensed reproductions from BD Barcelona, featuring knobs and handles originally crafted by Antoni Gaudí for buildings constructed between 1902 and 1910, as well as Salvador Dali’s intricate 1937 Rinoceróntico door handle. Petra distinguishes itself through its commitment to expressive hardware, both in aesthetic and conceptual terms. The brand's offerings largely consist of small-batch, handmade fixtures designed to serve as distinctive elements within interior spaces, differentiating them from mass-market options. While some pieces function as elevated basics, many are intended to be statement pieces, reflecting a fusion of art and functionality in everyday hardware. The initiative seeks to elevate the role of hardware in interior design, transforming utilitarian objects into points of artistic expression and focal points within a room. The curated selection suggests a move towards hardware that not only performs its function but also contributes significantly to the overall design narrative of a space. #NYCxDESIGN #ArtisticHardware #HomeFurnishings #InteriorDesign #MonicaKhemsurov #PamelaLove #SculpturalDesign #DesignerHardware

The article details a collaborative project between flooring brand Bolon and French architect Jean Nouvel, focusing on an installation at the Stockholm Furniture Fair. The collaboration stemmed from Nouvel's prior use of Bolon flooring in the Musée du Quai Branly in Paris, where he appreciated its hardwearing, tactile qualities, and visual appeal both from a distance and up close. Bolon, on the other hand, sought to challenge traditional perceptions of flooring and explore new artistic applications for their material. The inspiration behind the Stockholm Furniture Fair installation, as explained by Jean Nouvel, was to create a "Bolon universe" composed entirely of floors, devoid of ceilings or walls. This concept aimed to push the boundaries of how flooring material is perceived and used. Nouvel also emphasized the importance of human interaction within the installation, wanting visitors to engage with the material by lying on it or touching it. Initially considering regular mannequins, he humorously decided to use four copies of a sculpture of himself by Xavier Veilhan, noting that architects should seize opportunities for humor amidst the seriousness of their profession. From Bolon's perspective, Nouvel's installation has significantly influenced their future outlook. While currently a 100% flooring company, the project introduced the idea of blurring the lines between different architectural surfaces, such as floors, ceilings, and walls. This has opened up possibilities for future applications of their material, even suggesting the ambitious idea of covering building facades. The installation showcased Bolon's new 'Create' collection, some designs of which feature a unique 3D-effect pattern, further demonstrating the versatility and innovative potential of their products. The discussion highlights the mutual respect and creative synergy between the architect and the brand. Nouvel’s vision transformed a functional material into an immersive artistic experience, while Bolon gained new insights into the potential of their product beyond conventional uses. The collaboration underscores a shared commitment to innovation and artistic expression within the design and architecture industries, encouraging both parties to explore uncharted territories for material application and spatial design. The project serves as a case study for how design thinking can transcend traditional boundaries and inspire future product development. #JeanNouvel #BolonFlooring #StockholmFurnitureFair #ArchitecturalInstallation #DesignInnovation #MaterialApplication #CreativeCollaboration #InteriorDesign #ExhibitionDesign

This blog post features an interview between sculpture artist Nikita Gale and artist Chris Schanck, focusing on Schanck's functional sculptures and his exhibition "Shuddering" at Reyes Finn Gallery in Detroit. Schanck's work, characterized by clashing colors, bulky shapes, and transformed junkyard materials, reimagines furniture like chairs and cabinets into otherworldly objects. These pieces reflect his relationship with his native city, Detroit, and its industrial landscape, blending elements of 1980s aesthetics with science fiction. Schanck discusses the inspiration behind his unique approach, highlighting a collaboration with his mother on a chandelier. He explains how his mother, Carol, was his first art teacher and mentor, and how his artistic practice, initially diverging into more conceptual work during his time at SVA, eventually led him back to a collaborative project with her to bridge the gap that had grown between them. He notes that his early conceptual work, involving found objects and temporary installations, surprisingly mirrored his mother’s intuitive process of collaging available materials. The conversation delves into the universal appeal of furniture as a starting point for artistic exploration. Schanck emphasizes that objects like chairs are universally understood, and this familiarity allows him to build upon them, adding decorative elements that alter the viewer's physical and emotional experience. He illustrates this with a poignant story about his grandmother's hospital-issued wheelchair, which his mother transformed with ribbons and lace into something comforting, demonstrating how emotional and physical well-being can converge in art. Schanck also explores the concept of ancestral memory and its influence on his work, particularly drawing inspiration from ancient geological formations in caves. He hypothesizes a Jung-like genetic memory of living in such spaces and aims to introduce this "strangely familiar past" into contemporary domestic landscapes through his designs. This idea connects to his fascination with landscape and how his immediate environment shapes his creative process. The artist describes how living in Detroit, and specifically his neighborhood, has profoundly impacted his art. He observes the material culture of his community, where generational handiwork, repairing homes, and elaborate gardening infrastructures made from salvaged materials are common. He notes how residents collect and bind disparate elements to create functional yet visually chaotic structures. This observation led him to appreciate the intentionality and purpose behind what might initially appear as disarray, inspiring him to rethink his own relationship with materials. Schanck reflects on the piles of discarded furniture and objects that appear on Detroit streets each spring and summer. Initially viewing them as mere garbage, he later reinterpreted them as symbols of transition and human stories—whether signifying upward mobility or difficult life changes like eviction. This perspective allows him to see these items not as waste, but as imbued with history and a "residual energy" from their past lives, which he then reanimates in his art. The conversation concludes with Schanck recounting a vivid childhood memory of delivering newspapers with his father, enduring the nausea caused by ink fumes, and how this experience parallels the uncomfortable, yet necessary, stages of the creative process—a metaphorical "mental throwing up" required to push past old ideas and create something new. #ChrisSchanck #NikitaGale #FunctionalSculptures #DetroitArt #InteriorDesign #FoundObjects #ContemporaryArt #CreativeProcess #ArtExhibition