Sommaire pour September / November 2019 de Interior

Every three years, sometime around April, the short list for the Aga Khan Award for Architecture is quietly announced from a press office in Geneva. The list – made up of approximately 20 projects from around the globe – adheres to the organiser’s goal to “identify and encourage building concepts that successfully address the needs and aspirations of societies across the world, in which Muslims have a significant presence”. It is quite a targeted but open brief. This year, much like in every other round of the award, the finalists have proven to be a veritable hodgepodge of buildings in often-remote locations, with budgets that range from the non-existent to the eye-watering. There are several projects tackling the Anthropocene. There is a low-budget, prefab, modular and highly stylised solution to…

You ended your involvement with homewares store Everyday Needs a couple of years ago. Why the change and what has been your focus since? Everyday Needs was always a side project for me that grew of its own momentum and was managed by a great team. It had reached a point where I felt it deserved to have someone at the helm who had the time to focus on it properly. I have enjoyed having more time to focus on my interiors practice and family since I sold it. Your work has been very popular with creative clients. Why is this? I think it comes down to a meeting of minds. A lot of your work seems to prefer the ‘handmade’ over the mass-produced, the analogue over the highly technical…

Fabric Bistro was built in an ex-army textile warehouse. Did this heritage inform your design and material choices? If so, how? The character of the building informed our design. We left as much of the masonry and structure exposed as possible. We kept the palette generally neutral so the spatial emphasis was on texture rather than on pattern and colour. There can be a coldness to former industrial spaces. What tips do you have for turning something like this into a soft and inviting hospitality interior? All of the introduced elements are aesthetically soft and warm to counteract the industrial character of the building – warm timber and brass hues, with honed stone textures and soft fabrics. You have used linens, drapes, handwoven pendants, and soft textiles on cushions and…

STEPHEN GOODENOUGH Photographer Stephen began his career in graphic design before venturing into photography in the early ’80s. He now operates as a freelance photographer from his shared studio in Addington, Christchurch. What was your favourite aspect of the Dark Sky Project? The building’s exterior, especially at sunset with the huge north-facing glass windows reflecting the surrounding landscape. But, I must admit, the ceiling detail is amazing. What are your thoughts on dark sky reserves? They’re a great asset for tourism, as there seems to be a huge fascination with the night sky and our solar system across all ages. Astrophotography has exploded in recent years and the Mackenzie Basin seems to be the place to be. Where else has your work taken you lately? I’ve been doing a few…

Research into the ways in which architecture influences aesthetic judgement and the decision to approach or avoid has found that we have a natural preference for curvilinear rather than rectilinear forms. Indeed, not only do we consider curves to be more beautiful, but, also, they trigger pleasant emotions and encourage us to approach or enter.✶ The curve – sinuous, wavy and inviting – seems to be making a comeback of sorts in interior spaces, with furniture, architecture, accents, artworks and beyond favouring the friendly shape over its harsher cousins. Here are two recent projects that encapsulate some of this softer, more tender side to commercial interiors. ✶Vartanian, Oshin et al. “Impact of contour on aesthetic judgments and approach-avoidance decisions in architecture.” Proceedings of the National Academy of Sciences of the…

With sweeping curves and a pastel palette, Spiritea in East Village, New York, entices customers inside – an inviting contrast to the rectilinear grid of streets and avenues that defines much of Manhattan. New Practice Studio designed the curvilinear environment to guide circulation through the tea shop, and selected gentle colours inspired by the exotic fruits used in the teas. “Spiritea is conceived as a fresh and playful environment that showcases the elegant process of tea-making to the guests,” says Nianlai Zhong, founding partner and principal at New Practice Studio. Spiritea is located in a brick tenement building that dates back to 1874. New Practice Studio preserved the original structure and incorporated existing and new decorative mouldings to retain its historic character sensitively. Curving custom-made banquettes create a lounge-like seating…

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It is hoped that the Oceania Biophilia Summit, run by Living Future Aotearoa NZ and the Living Future Institute Australia, will be the first of many, with a date for next year’s event near Sydney already in attendees’ diaries. Participants this year ranged from architects and engineers to developers and product manufacturers. The event kicked off with a presentation from award-winning architect Amanda Sturgeon, CEO of the International Living Future Institute and author of Creating Biophilic Buildings. Sturgeon went deep into the concept of biophilia and how it can be used in a practical sense to create beautiful, green and healthy living buildings. She examined key examples of LBC buildings around the world, which also appear in her tome, including our very own Te Kura Whare. She spoke of biophilia…

Project: Harmos Horton Lusk Client: Harmos Horton Lusk Location: Auckland Project type: Workplace Floor area: 730m2 An exclusive, disruptive and indispensable brand with creative, jovial and hard-working people: from this narrative of legal practice Harmos Horton Lusk (HHL), the initial concept for the firm’s architectural transformation was conceived as ‘Traditional with a Twist’. When HHL sought out Warren and Mahoney, the firm occupied a prominent position on the 37th floor of well-known Auckland tower the Vero Centre, with panoramic water views. Rather than big change, it wanted to move to a larger floor plate on the 33rd floor and turn its incumbent, successful working model into an exceptional space. Add a design team at Warren and Mahoney, led by principal Scott Compton, who knew the building intimately, those Waitematā Harbour…

Theatre and hospitality are inherently intertwined. An impeccable dining experience is comparable to a flawless performance – the food, wine and waiters unite to form a seamless show. So, when Wes Anderson ventured into interiors by designing Bar Luce at the Fondazione Prada museum in Milan, the progression felt natural (if a little quirky; we are talking about Wes Anderson after all). The same can be said for Craig Stanghetta. Studio principal of Ste. Marie in Vancouver, Canada, the self-trained designer has a Bachelor of Fine Arts, majoring in theatre. After acting on stage in Toronto, he transitioned into film and television in Vancouver. “I’d waited for so long to make money as an actor that, when it finally happened, I was terrified that I wasn’t enjoying it,” he says.…