Morriah Mryszuk

w w w. b o u t i q u e d e s i g n . c o m Kaydi Joyner
Jared Epps

Vasiliki Zannettis

Jennifer Shallenberger
Leana Bartlett

Ray Chuang

Grace Mack
Brynnen Callahan

Heather Maloney Jen Mazziotta

Leana Bartlett
Alison McGovern

Shaleah Soliven

The
Boutique
Ready for
Hospitality’ s
18
Gino Castano Kris Pienschke
Leora Oh

Danielle Peacox
 L E T T E R F R O M T H E E D I T O R

www.boutiquedesign.com

Everyday People, Everyday Fun PUBLISHER

Michael Schneider
michael@boutiquemediagroup.com

H
ow often do you say to EDITORIAL
yourself, “My life is fun?” Kelly Hushin | Editor-in-Chief
kelly@boutiquedesign.com
No, really. It sounds silly,
Marc Weinreich | Associate Editor
but I thought about this question marc@boutiquedesign.com
these last few weeks while prepar-
ing for our annual People Issue. I ART
Lora Calderin | Art Director
started thinking about what keeps lora@boutiquemediagroup.com
people going day to day, especially
Laura Licitra | Graphic Design Intern
through a year as tough as 2009. licitra@boutiquemediagroup.com
There’s family, careers, hobbies,
love — none to be underestimat- EDITORS-AT-LARGE
Kelley Granger
ed. But many of these are shared.
Wanda Jankowski
I wanted to uncover what makes a Katie Tandy
person enjoy life for him or herself
individually; what makes a person ADVERTISING
Eric Schneider | Florida
smile, feel fortunate and grateful?
Chairman
In reading responses from 914.923.0616 x12
eric@boutiquemediagroup.com
our annual boutique 18 winners
and the many nominees (and Gerry Kreger | West Coast
323.933.7211
doing some soul searching myself) gerry@boutiquemediagroup.com
I started to realize that it actu-
Scott Rickles | Southeast
ally is those shared things that 770.664.4567
keep us going, because very sim- scott@boutiquemediagroup.com

ply, they’re fun. And really, what Paul Fulton | Texas

could be more important in life 972.782.2584
paul@boutiquemediagroup.com
than enjoying it?
Fun — we learn the word at
MARKETING
such a young age and as we grow Laura Altman
Kelly Hushin, editor-in-chief and Michael Schneider, Sales, Marketing & Event Coordinator
up, there are a million and one laltman@boutiquemediagroup.com
publisher, in a suite at the Crosby Street Hotel
replacements for it. Its synonyms
Photo by Kent Miller, Kent Miller Studios
come in handsome handfuls:
amusing, diverting, enjoyable, entertaining, merry, pleasant. They all work, but not any better than
their root, that tiny, three-letter word we so take for granted.
The 2010 boutique 18 winners are a group who appreciate this word and overcame one of recent
history’s worst years in hospitality through innovation, optimism, confidence and fun. The rest of the
people in this issue are in a similar boat: three original boutique 18 winners share their view on the
industry today, remaining passionate and excited about design. Anthony DiGuiseppe and Ed Bakos HEADQUARTERS
Boutique Media Group
from Rockwell talk about their vision for the Trump SoHo and its unique footprint on the infamous 145 Main St., 3rd Fl., Ossining, NY 10562
tel: 914.923.0616 | fax: 914.923.0018
Manhattan hood. David Collins and Heath Nash gush about South Africa with the impassioned
www.boutiquemediagroup.com
gusto of locals — the latter of the two being such. Andi Pepper and Stephen Jacobs eagerly spill the
beans about the upcoming Gansevoort adaptation.
For this issue, we left the talking to the people, in hopes that you would hear more of their voices.
They know their craft and they know how to have fun with it. We hope you have fun with their pic-
tures and words. boutique DESIGN is published bi-monthly and printed on 10%
recycled paper. Visit boutiquedesign.com to subscribe for the
print or digital edition. Copyright ©2009 by Boutique Media
Group. All rights reserved. Qualified subscribers receive boutique
Cheers, DESIGN at no cost. Others may subscribe at the cost of $69 for
six issues. Individual issues sold for $15, per issue. POST-
MASTER: Send address changes to Boutique Media Group
145 Main St., 3rd Fl., Ossining, New York, 10562.

Printed in Canada.

Kelly Hushin

Printed on
recycled paper
4 • boutique DESIGN may/june 2010
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CONVENTION CENTER

nov. 14-15, 2010

boutique DESIGN New York, a new hospitality trade fair will coincide with the esteemed 95-year-old International
Hotel/Motel & Restaurant Show (IH/M&RS). For two days, boutique DESIGN New York will be held in the
NEW Javits Center North building on the same level as IHMRS. The fair will give hospitality FF&E vendors the
opportunity to display high-end, unique and innovative lines that are seldom seen at other trade fairs.
Designers, architects, purchasers and developers will join the hotel owners and operators already attending
IH/M&RS to view the best of the design industry's offerings as well as explore BDNY special exhibits, the BDNY
networking café and BDNY seminar theater — all located on the exhibit floor.

An edited selection of 200 exhibitors will be reviewed by the boutique DESIGN New York advisory board.
This exclusive event will elevate your products by limiting the number of vendors in each category and
offering space selection on a first-come, first-serve basis.

Michael Schneider, President: michael@boutiquemediagroup.com or 914.923.0616 x14

Alex Cabat, Sales Manager: alex@boutiquedesignnewyork.com or 914.421.3372
 16

27 30

INSIDE
BD MAY/JUNE 2010

People
16 NEWH members tour NYC’s newly-renovated
Surrey Hotel, designed by Lauren Rottet

18 BDNY advisory board meets to tour new

building and discuss trade show launch

28 A dual Q&A with Ed Bakos and Anthony

DiGuiseppe about the interiors and upcoming
spa at the much-anticipated Trump SoHo
51 54
Projects
14 The Rocco Forte Collection adds its first
Middle Eastern property which will open in
Abu Dhabi this fall

14 Kimpton opens another Hotel Palomar, this

time in the heart of Chicago and designed by
Orlando Diza-Azcuy

61 14 Steve Wynn unveils Encore, his new all-suites

boutique hotel in Macau adjacent to sister
resort, Wynn Macau

26 On the Boards: Stephen Jacobs and Andi

Pepper introduce the upcoming Gansevoort
Park, a posh rendition of the chic brand

68 Amsterdam firm, UXUS Design, transforms

62 68 Napa Valley garage winery into majestic,

upscale tasting den, Merus

8 • boutique DESIGN may/june 2010

1449 Industrial Park St., Covina, CA 91722 T 626.967.5261 F 626.967.5324 www.royalcustomdesigns.com
 32
The boutique 18 cast
an optimistic graphic
novel of Design work
onto 2010’ s canvas.

INSIDE
BD MAY/JUNE 2010

Fashion Forward
12 BD launches ScanLife Technology, bringing
information straight to your smartphone

58 DREAMbook: Light some candles, relax and

unwind in a luxurious bathroom with our Bath
& Spa suggestions

62 Bath and Spa: Wanda Jankowski takes a look

at bathrooms in places where design gets a
little wavy — cruise ships

Features
16 Novo Arts hosts S.A.S. studio night to bene-
fit the Give Your Art Foundation

22 Business Sense: Designers and members of

the industry discuss why continuing education
is crucial in today’s design climate

32 We proudly present the 2010 Boutique

18 — read their story in pictures

50 In Reflection: Three of our original Boutique

18 winners talk about the industry then and
now and how they are ever-evolving

52 World by DESIGN: Through the mountains and

deserts of one of the world’s most fascinating
landscapes, BD visits South African design

70 Calendar/Advertisers’ Index

10 • boutique DESIGN may/june 2010

Boutique Buzz
BD Goes Uber-Tech with New ScanLife Launch
s you flip through the pages of our 2010
A May/June issue, you may wonder why it
looks like some of the pages are available for
purchase. Well, not quite. Don’t be fooled by
the barcodes — they’re not UPC’s. They’re
even cooler.
Wilson Takes on Saudi
Arabia — Big Time
fter a pitch that lasted only 12 min-
A utes, Dallas-based Wilson Associates
inked perhaps its most massive deal yet.
The firm was signed on to design 19 of the
26 hotels in the Makkah development
project in Saudi Arabia, a large-scale proj-
ect from Jabal Omar Development
Company, to develop the Makkah region,
the center of the Islamic World, by 2020.
Makkah Development Site
Wilson’s design focus is on cultural and
historic traditions of the past with a con-
temporary refinement and an eye for cap-
turing a sense of place.
“We design for the client and for the
market, incorporating the culture, tradi-
tions and topography of the project’s loca-
tion,” said Trisha Wilson, founder and
CEO. “Here in Makkah, our design focus is
to create a balance between contemporary
elegance and strong architectural elements
punctuated with luxurious finishes.”
Wilson’s project for Makkah will include
25 towers ranging from 20 to 48 stories, 17
grand lobbies and 40 food and beverage out-
lets. Confirmed hotel brands include the
Conrad, Westin, Marriott, Hyatt and
Sheraton, among others. — KH
12 • boutique DESIGN may/june 2010
a smart phone. But it is 2010 — we’re assum-
Starting with this issue, BD launches ing most of you tech-savvy designers do.
ScanLife technology, to bridge the divide
between print and digital. ScanLife is a con-
We’re excited to be the first trade maga-
zine to utilize this technology and can’t wait to
venient way for you eager readers to use your hear your thoughts about it. Try it out here
smart phone (read, Blackberry, iPhone, etc.) to with our own boutique DESIGN barcode
scan a custom barcode in an ad and request which will take you right to boutiquedesign.com.
more information. When we say information Once you get the hang of it, check out some
we mean anything from company of our advertisers who have taken
websites to phone numbers to twit- advantage of ScanLife in this
issue. In the future, we hope to
ter accounts. All you need to do is go
to ScanLife.com, or text “SCAN” to incorporate it in even more fea-
43588, download the free software
on your smart phone and start scan-
tures. The sky is the limit to where
this new technology may take
ning. Yes, the catch is you must have us…and you. — KH
W Teams with Design Miami/ for New Award
itting at our desks in New York, anxiously The 2010 W Hotels Designers of the
S awaiting the announcements that would Future Award aims to look beyond pure prod-
come from across the Atlantic at Salone del uct and furniture design to embrace work that
Mobile, we surely were not disappointed by is conceptually and technologically vanguard,
the one from W. It turns out the “special bridging multiple areas of practice, including
event” W Hotels’ Global Brand Leader, Eva art, sociology, science and experiential design.
Ziegler, held was in honor of a new partner- The 2010 winners include: Berlin-based stu-
ship between the mega-boutique brand and dio Beta Tank; British artist Graham Hudson;
Design Miami/Basel — most known for its London and Berlin-based studio rAndom
annual design and culture shows in International; and American post-industrial
Switzerland and Miami.
Design Miami/Basel
announced its annual
Designers of the Future
Award this morning in
Milan, which is now
known for the first time as
the “W Hotels Designers
of the Future Award.” The
award recognizes young,
emerging designers whose
work reflects exception
innovation and beauty in Design Miami/partners with W Hotels
limited-edition design.
“Design is at the core of W Hotels and is design studio Zigelbaum Coelho. The selec-
a source of innovation that has and will con- tion committee was comprised of Ambra
tinue to set us apart from other brands,” said Medda, Director, and Wava Carpenter,
Ziegler. “Salone del Mobile, where the best of Associate Director, Design Miami/Basel;
the best — including some of W’s notable Marcus Fairs, Editor-in-Chief, Dezeen.com;
design partners — gather to exchange and and Mike Tiedy, SVP, Global Brand Design
celebrate new design ideas, is the perfect set- and Innovation, Starwood Hotels & Resorts
ting to announce this.” Worldwide, Inc., W’s parent company. — KH
 get into your designs.
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Rocco Forte Announces First Middle Eastern Property
ne of Europe’s leading hotel brands, The
O Rocco Forte Collection, has announced
the opening of its first property in the Middle
East, set to open in Abu Dhabi in the fall of
2010, marking the 14th luxury hotel in the
collection.
The 281-room property, housed in a 12-
floor curving glass structure and designed by
architect WS Atkins and Partners, is comple-
mented by contemporary interiors by Dubai-
based KCA International, featuring local
artwork, accessories and fabrics hailing
from the Middle East.
Olga Polizzi, sister to CEO and Chairman
Rocco Forte, oversaw the entire conceptual-
ization of the new property as Director of
Design for The Rocco Forte Collection.
“We have spent twelve years building our
The Windy City Welcomes
a New Hotel Palomar
impton has announced the opening of a
K new Hotel Palomar in the heart of the
River North neighborhood in Chicago,
designed by Orlando Diza-Azcuy.
Hotel Palomar interior
Featuring 261 guestrooms, the 17-story,
art-themed new hotel features a seductive
black marbled lobby, while the higher floors
are washed in creamy warm tones echoed by
cerused red oak and playful pops of color.
Artwork includes images of the 1893
Chicago World’s Fair while floor-to-ceiling
windows engage the bustling streets of the
surrounding neighborhood.
In addition to 5,800 square feet of event
space including a gold-toned ballroom,
Kimpton’s new Hotel Palomar Chicago also
boasts an indoor rooftop pool with expansive
views as well as a green roof, celebrating a
city-wide eco initiative. Covered with both
vegetation and grass, the roof is designed to
improve air quality, clean and retain rainwa-
ter, and offer a soothing vista. — KT
14 • boutique DESIGN may/june 2010
B U Z Z
luxury hotel business in Europe, and are now
greatly excited about expanding into the
Middle East,” said Forte. “The opening of our
Abu Dhabi Skybar
new Abu Dhabi hotel next year will be a sig-
nificant milestone for the company. mutli-ethic restaurants including a modern
The guestrooms will feature muted hues Chinese and Japanese restaurant, an à la
of terracotta, green and yellow, coupled with carte Italian restaurant, a tea and coffee
large leather panels behind the beds and cur- lounge, a mezzanine bar and a Brazilian pool-
vaceous contemporary sofas flanked by side bar and restaurant. Suspended on the
works from local artists like Salwa Zeidan. fifth floor of 10-story atrium is the Sky Bar,
Two renowned chefs, Mark Hix and Fulvio offering sweeping views of both the city and
Pierangelini, will be at the helm of several the skyline below. — KT
Donald Trump Jr. and his team Donald Trump Jr. Welcomes
Guests to Trump SoHo
or months and months and months New
F Yorkers (and anyone in the hotel design biz
for that matter) have been abuzz about Trump
SoHo, a new condo-hotel tower to open in the
trendiest of Manhattan’s villages. A building full of hotel rooms for sale which can only be
occupied for a small portion of the year, the condo-hotel concept has been much contest-
ed and pondered over, especially in this difficult economy. But with things appearing to be
on the up-and-up, the Donald Jr.’s hotel has opened and the industry’s curiosity about what
it would bring has finally been sated.
On April 6, a soft opening celebration took place in the David Rockwell-designed cav-
ernous lobby whose ceilings have no bounds. The celebration also took place in the first
NY outpost of Quattro Gastronomia Italiana, a popular eatery in South Beach, Florida,
which serves Northern Italian cuisine from Chef Fabrizio Carro. Tours of the guestrooms
were given by Rubenstein PR reps and Donald Trump Jr. gave a speech welcoming the
property to the neighborhood.
Rockwell and his team have done per usual in creating glitzy and glamorous public
spaces with contrastingly understated rooms. There are furnishing touches that really
enhance such as leather-lined elevators and calf-skin furniture (that isn’t real, so don’t get
too worked up.) And whatever may be lacking in the gusto of the rooms is made up for by
unparalleled views of the Hudson River and downtown Manhattan.
Anthony DiGuiseppe helped out in the design of public spaces like the spa, which is
yet to open. See the full story with designer Q&A’s on page 28. — KH
Encore at Wynn Macau Opens Lobby
astermind hotel developer and art collector extraor-
M dinaire, Steve Wynn, unveiled Encore, his new, all-
suites boutique hotel in Macau on April 20, in hopes to
broaden the appeal of Macau as a tourist destination.
Adjacent to sister resort, Wynn Macau, Encore has its
own repertoire of dining, shopping and guestroom suites —
414 of them to be exact.
In proper Wynn ambitious fashion, the hotel mogul’s goal was not only to increase the tourism
dollars for Macau, but to “open the most beautiful hotel in the world.”
“I am grateful to the People’s Republic of China and the Government of Macau who gave us
this opportunity,” he said. “As a result, the loveliest hotel in the world is not in London, Paris,
Tokyo, New York or San Francisco. It is here in Macau.” — KH
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NEWH Tours Manhattan’s Re-Vamped Surrey
s the sun starts to shine on New York
A City streets, hotel doors are starting to
open as well. The New York Chapter of
NEWH led hospitality industry members into
the Upper East Side’s newest to debut, the
Surrey Hotel, with interiors that are modern
Marriott Lobby Lounge
Brings Nature Inside
estled between the Gulf of Mexico
N and the Everglades, Marco Island is a
slice of heaven that just got more heavenly
thanks to a revamp of one of its hotels.
Enlisting Malcolm Berg, Edge of
Architecture (EoA) founder, the Marriott’s
Marco Island Resort received a renova-
tion of new heights for its lobby lounge.
Earthy, functional, and slightly futuristic,
Berg designed the lobby lounge to reflect
the beauty of the surrounding surf, sun,
and greenery.
New lobby by EoA
Stretching across the ceiling, internally
lit ribs of cherry wood draw the eye upward,
creating an atmosphere of movement. An
11-foot, 360-degree aquarium column filled
with moon jellyfish stands in the room’s
center, mesmerizing guests as they enjoy
cocktails chilled from the bar’s snow-cov-
ered drink rail. Floor-to-ceiling windows are
lined with lavish seating groups, highlighted
by private banquette cubbies.
The ribs were constructed to “statically
emulate a sense of motion, as do the man-
grove roots, or a snapshot of a breaking
wave,” Berg said. “The island is truly remark-
able. It is captivating beyond its expansive
beaches. The marsh grasses themselves
seem endless at times…their submerged
limbs reaching skyward in tangled choreog-
raphy. This is what drove the design — the
relationship between pristine reflections and
unrestrained organic form.” — BD
16 • boutique DESIGN may/june 2010
B U Z Z
while classic, luxurious while comfort-
able. The pre-war Beaux Arts building
just saw a renovation that cost more
than $60 million to complete.
Texas-based designer Lauren
Rottet of Rottet Studios conceived the
interiors for the hotel, which are meant
to evoke the ambiance of a residential
townhouse that has evolved over time
with eclectic pieces. The hotel fea-
tures 190 salons including 30 one-bed- Above: Jodi Finer, Fabricut Contract with Susan Venditti and
room suites, a Penthouse and a Willie Landau of Willie Landau Interiors, Inc.
Presidential suite. The Surrey’s charms Karlsson and Martin Nihlman, best known
include coffered ceilings, limestone walls and as Jimmie Martin, were commissioned by
moldings, a hand-tooled Rottet Studio to custom-
leather front desk, design playful residential
hand-crafted DUX beds furnishings.
by Duxiana and marble Housing the original
archways. Daniel Boulud NYC restau-
The Surrey also rant, Daniel, the Surrey now
includes contemporary boasts Boulud’s newest ven-
art including photo- ture, Bar Pleiades, located
graphs by Jenny Holzer, on the lobby-level of the
as well as an interactive Surrey and designed to look
video piece by William like the inside of a Chanel
Kentridge. London- View from the rooftop bag mixed with 1930s Art
based artists Jimmie exclusive to the Penthouse Deco. — KH
Walking Art at Novo NYC energy to decorate their walls with art and
enrich the quality of life for their patients.
n honor of the Give Your Art Foundation, The S.A.S. studio nights all lead up to the
I Novo Arts, a multimedia and fine art
provider, held its third Secret Art Society
S.A.S. Salon in June, where a panel of
renowned designers will select 20 exceptional
(S.A.S.) studio night on April 13 and wel- artists whose work will then be exhibited and
comed all sorts of creative collaboration. auctioned to benefit the foundation. This panel
The S.A.S. studio nights bring together of “curators” includes Stephen Apking from
designers, product manufacturers and artists S.O.M., E.J. Lee from Gensler and Cindy Allen
for an evening of creation — from figure draw- from Interior Design among others. — KH
ing to painting to clay and wire
sculpture. Guests are encouraged
to play with all of the art supplies
provided while enjoying cocktails,
hors d'oeuvres and networking.
Funds from the event and all
S.A.S. events go directly to the
Give Your Art Foundation, which
aims to provide art for charitable
institutions that have little or no
funding to procure art for their
facilities. The foundation gives arts
to AIDS facilities, hospices and
Marlaina Deppe and Jamie Henke of Novo Arts; their digital
non-profit hospitals — many of art and Gustav Klimt’s flower frocks (respectively) flank Tom
which have no time, money or Krizmanic, of STUDIOS Architecture
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BDNY Advisory Board Tours New Javits Center North
n St. Patrick’s Day, 2010, in the gor-
O geous heat of the unseasonably bright
sun, BD, GLM and the advisory board of
boutique DESIGN New York (BDNY),
gathered for its first super official meeting
and walk-through of Javits Center North,
where the first ever BDNY show will be
held this November.
While a few of our west coast board
members couldn’t make it, most of the NYC
folks came for a day of conversation, plan-
ning and — naturally — fun. Donning hard
hats (unfortunately there was only one in
green), we were guided through the space
and told exactly how it will function as an
arena for the show.
After a thorough walk-through, the group
convened for refreshments and discussion.
Our conversation covered topics like the spe-
cial exhibit areas that BDNY will feature,
some of the designers who will be involved
in planning these spaces, trends that should
be explored, potential seminar topics and
what sorts of exhibitors both the vendors and
designers on the board would like to see at
B U Z Z
the show. Our two design pros present at the
meeting, Mari Balestrazzi, Morgans Hotel
Group, and Winston Kong, Champalimaud,
agreed that the kinds of seminars they’d
like to attend are those focused on interna-
tional efforts and hotel owner perspectives.
NY members of BDNY advisory board
Everyone agreed that a diverse list of
exhibitors from all over the globe would be bring. See the full blog of the meeting on
the most attractive offering the show could boutiquedesign.com. — KH
Industrial Counting Room Bar Opens in Brooklyn
illiamsburg welcomes another industrial den; the bi-level Counting Room — conceptu-
W alized by owners Doria Paci and Ruth Tranter — brought to sexy cellar fruition by light-
ing designer Michael Brown, and LIV Design helming the exquisite millwork.
The Counting Room Housed in the newly renovated New York quinine
chemical factory, Doria and Ruth began their design
last January and started building in September, off-set-
ting the highly industrial concrete and brick base with
rustic wooden tables and chairs. The upstairs features
floor-to-ceiling windows, glowing pendant lamps, bring-
all-your-friends picnic tables and raw wooden columns.
The downstairs boasts more warehouse-inspired pieces
like Edison bulbs in canning jars, salvaged schoolhouse
doors and wall sconces crafted from pipes. — KT
E l l i n g t o nFans .com
 B U S I N E S S S E N S E

Hitting the Books

Why Continuing Education is Key
to a Designer’s Career Growth
B Y K E L L E Y G R A N G E R

e all remember the liberation we felt when we graduated college — our lives no longer revolved around
W class schedules, and a very literal weight was lifted as we auctioned off the last of our textbooks at the
school store. But it probably wasn’t long into life as a professional that we realized our college days of lectures
and coursework were just a hint of things yet to come — especially in industries like design where things move
at the speed of light. Software is continually upgraded and invented. Building codes and materials change and
evolve to meet the most current needs. The market itself is dynamic and unpredictable. It turns out graduation
is just the beginning of what should be a career-long commitment to furthering your education.

22 • boutique DESIGN may/june 2010

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Register Now! www.HTFSE.com/BDZ


TODAY’S EDUCATION
ESSENTIALS
At Dawson Design Associates
in Seattle, there’s been a lot of
introspection when it comes to
education and what makes compe-
tent, industry-competitive design-
ers. Last year the firm’s principal,
Andrea Dawson Sheehan, ad-
dressed the department heads of
major universities as the keynote
speaker for an Interior Design
Educators Council event. After
putting in calls to the principals of
other firms, Sheehan noticed some
recurring trends when it came to
their concerns. First, senior design-
ers seem to be in precarious posi-
tions as layoffs have essentially
wiped out the “implementers” this
group relied on — often younger
staff more well-versed with new
computer programs and able to do
a lot of hands-on work.
“Many seniors have very high
salaries, with a narrow skill set,”
Sheehan says. “They might know
how to do everything at a level to
manage a team — but lack the
hands-on capability to do the
actual work themselves at today’s
expectations. We are seeing them
getting laid off in droves because
they are just too expensive for
what they bring to the table. It is
really too bad since these are very
24 • boutique DESIGN may/june 2010
B U S I N E S S
Clockwise from top
left: Andrea Dawson
Sheehan, Rick
Marencic, Belle
Ampoan and
Rhonda Claytor
talented people. Un-
fortunately they did
not invest in ongoing
education to leverage
their skills.”
Even mid-level and
newer staff should be
on their toes. Sheehan
says she notices a huge
difference in the techni-
cal skill sets of design-
ers graduating four
years ago and those
that came out last year. “Software
is changing quickly,” she says.
“Today’s graduates are really
trained in 3D capabilities, and
cross-trained in multiple programs
like Revit, Micro Station as well as
CAD. They are also really hungry
for the chance to prove how good
they are. They just want to be
given a chance. There are many
high caliber interns offering to
work for free just to get their foot
in the door.”
Every experience level can
benefit from continuing educa-
tion and professional develop-
ment, but there are ways to
make the course really boost
your resume. Dawson Design
Associate’s business director Belle
Ampoan is directly involved with
hiring the design team, and has
some valuable advice for those
looking to make improvements.
“Continuing education is great
but I really advocate a person to
first come to a sense of self-aware-
ness,” Ampoan says. “Once we do
that, then we can put a strategy
into place to make sure that the
efforts put into this person, [who
is] growing as a designer, are used
to maximum value.”
What Ampoan suggests is fig-
uring out where you are in your
career and then selecting the
courses that will make you most
S E N S E
valuable now, not later. For exam-
ple, say a junior designer is inter-
ested in taking a course on project
management. Ampoan says s/he
would be jumping the gun a bit
and the class wouldn’t really
improve his/her chances of being
hired. “I would have found more
value in his/her resume had I
known that s/he had advanced
skills in those areas that I would
typically assign to someone at
his/her experience level,” she says.
“For example, I would’ve wanted
him/her to implement drawings
for us, of course s/he can do them
in CAD like everyone else in our
office but if s/he took a Revit class,
then s/he could also work in Revit
and then make a 3D working
design model for us to concept in.”
MAINTAINING
PROFESSIONALISM
Continuing education and
professional development cours-
es also pave the way for your
membership in industry organi-
zations, a basic career building
block that can provide limitless
opportunities for learning, net-
working and advancement.
“I think that to be recognized
as a professional in our society
there are some expectations that
the public has,” says Rhonda
Claytor, who is the director of
education for the American
Society of Interior Designers
ASID CEU
course
(ASID). “One of those expecta-
tions is that as a professional, you
would be able to maintain your
qualifications and continually
demonstrate your competence in
that field, which logically will
change over time.” According to
Claytor, designers should consider
continuing education and other
forms of professional develop-
ment as vital to their field as
accountants, attorneys or school
teachers. “It makes sure you have
the skills, competencies and
knowledge to be able to be very
proficient in the field that you’re
working in,” Claytor says.
In order to regulate this public
perception and ensure that design-
ers can be regarded as knowledge-
able and professional, almost all of
the industry organizations, like
ASID and the International
Interior Design Association
(IIDA), require that members
complete Continuing Education
Units (CEUs) to maintain mem-
bership. Often, these require-
ments are nominal. For example,
ASID only requires members to
complete six hours of documented
learning over a two-year period.
While you only need six hours to
maintain your professional stand-
ing with the organization, design-
ers should consider investing more
time exploring the options and
bulking up their resume with a
variety of skills — in today’s world,
careers may depend on it.
 B U S I N E S S
BACK TO SCHOOL
Industry organizations have
chapters across the country which
offer a variety of course topics
and types. Right now, Claytor
says the most popular courses
include those with a green angle,
energy efficiency and those with
a focus on universal design, par-
ticularly geared to deal with an
aging population.
Staff at Philadelphia’s Daroff
Design are lucky enough to have
accredited courses offered on-
site as part of a weekly luncheon
seminar. Rick Marencic, princi-
pal at the firm and the hospitality
forum advisor for IIDA, says that
the firm presents these CEU
opportunities and will also devel-
op its own tutorials to instruct
staff on changed or refined
design and drawing standards.
“It’s one of the great opportuni-
ties in the firm to have senior,
intermediate and entry-level team
members sitting at the same table
learning the same information
while eating lunch together,” he
says. “It’s a great opportunity for
some of the people who’ve been
around for a number of years to
share what they know or how pro-
fessional practice has changed and
evolved. The staff, which has been
working only a short time, can real-
ly benefit from this exchange of
ideas. It’s also a great time for the
people who’ve been working a long
time to hear some of the impres-
sions of the younger members.”
In Marencic’s opinion, the
most crucial courses designers
can take are related to the more
technical aspects of the trade, like
changes in lighting and technolo-
gy. “The large portion of continu-
ing education really revolves
around the functional back-story
that underpins our profession,
more the science part as opposed
to the art part of it,” he says.
Branching out into mainstream
professional development and tak-
ing public speaking courses or
S E N S E
honing writing skills can only
HIGH-TECH
help, he says.
Though some firms may offer
educational opportunities in-
Carpe t Su ppor t
house, continuing education is a
designer’s responsibility. “Many
designers of all levels somehow
thought that it was the compa-
ny’s responsibility to pay for
sending them to school,” says
Sheehan. There are courses that
run the gamut of cost, including
free to low-cost industry organi-
zation courses, unaccredited but
informative online software
courses and more high profile
(and costly) alternatives like
Executive Education classes at
the Harvard University Graduate
School of Design. Using your
firm, ASID and IIDA or your
own research, you should be able
to find an appropriate fit no mat-
ter what your employment or
economic situation. BD
REMEMBER THESE
POINTS WHEN
PLANNING TO
FURTHER YOUR
DESIGN EDUCATION:
. Technology is key. It’s rapid-
ly changing and you’ll want to
stay ahead of the trends.
. Think 3D. Drawings are
design’s backbone, and the
formula of them is not just 2D
anymore.
. Go above and beyond. Just
because an industry standard for
education exists doesn’t mean
that’s all you should aim for.
. Be a part of the community.
SPEC GREEN
Continuing education introduces
you to peers you may have
carpet backing for any app
never known you had and you’ll
learn from them.
. Budget your budget. Not all
firms will pay for your courses,
but they’ll expect you to have
the knowledge and skills so be
financially prepared.
universal-textile.net
boutique DESIGN may/june 2010 • 25
706.279.3801 x6104
 O N T H E B O A R D S

The eclectically modern

lobby of Gansevoort Park

A Posh &
Polished
Brand Rendition
Jacobs and Pepper
‘Discover’ Gansevoort Park

B Y K A T I E T A N D Y

W
ith more than 71 years of collective experi-
ence, Stephen Jacobs and Andi Pepper have
touched nearly every facet of the industry —
from restaurants and residences to hotels, condominiums
and commercial interiors, the coupling of Jacob’s archi-
tecture with Pepper’s interior design has continued to
grow in scope, and with the upcoming introduction of
Gansevoort Park, the pair shows no signs of slowing.
Jacobs and Pepper met about 30 years ago while work-
ing on the illustrious Gotham Hotel (now the Peninsula)
and are about to complete their third Gansevoort proper-
ty with perhaps the most lavish rendition of the brand yet,
celebrating the pomp and style of New York’s most
renowned street — Park Avenue.
Although Jacobs and Pepper were educated in two dif-
ferent fields in two different cities (architecture at Pratt and
interior design at Drexel, respectively) the two immediately
discovered a rapport which began a lifelong collaboration.
“Our aesthetic affinity came out in the fact that Andi, as
I saw very early on, approached things from her background
as an artist and a painter,” said Jacobs. “I describe her work
as ‘painting using fabrics and textures and colors.’ We have
similar tastes in that while we’re both sort of oriented in the
modern movement, neither of us are minimalists.”
The new 20-story Park Ave. property reflects these sen-
timents, featuring a lobby with highly modern pieces that
celebrate the space as a gathering place but also a set
piece for art and a touch of drama.
With high wooden chairs upholstered in houndstooth,
contemporary cut-velvet sofas and a granite chevron floor
in Chanel-esque black and white, the lobby exudes a
“more formal style,” said Pepper. “It appeals to the same
age group [as the other Gansevoort properties] but also
invites older people in there.”

26 • boutique DESIGN may/june 2010

 Pepper and Jacobs highlighted a cou-
pling of soft and hard materials using
wood to offset the steel and whimsical
chandeliers in aubergine glass, to count-
er the more staid furniture.
As for the guestrooms, which are Rendering of a sleek guestroom in Gansevoort Park
mostly mini-suites, the design features
a similar amount of pageantry — subdued herringbone carpets under- very exciting. We have a glass corner that runs all the way up from the
cut with blue and metallic silver are coupled with fuschia drapes. “It’s street to the first setback that will change color.”
like a ballroom gown in all the rooms,” said Pepper. There is also a Another uniting element featured predominantly throughout
sumptuous use of leather, which not only comprises the inserts in the Gansevoort Park is the photography work of Deborah Anderson, who
credenzas, but also covers the mirror frames, adding a residential flair. was chosen by Pepper for the other two Gansevoorts as well, pre-
Miniature versions of the lobby’s dramatic chandeliers are also fea- senting her distinctive narrative quality yet again.
tured, “casting great shadows and are something different in lighting,” Serving as a suitable foil for Anderson’s erotically charged images
said Jacobs. “They're fun and sexy.” is the indoor/outdoor pool with a tri-level bar, which offers unprece-
While each Gansevoort property is decidedly different, echoing dented mutability, collapsing the boundaries between the inside and
the particular location in detail, Jacobs explained that there is a out and drawing the teeming streets of New York City into the glim-
definitive thread running through each proper- mering glass of the Gansevoort.
Andi Pepper and
ty, with iconic elements like epicurean rooftop Stephen Jacobs “There are a lot of flexibilities in the lounges
spaces and luminous LED lighting. and bars and function spaces,” said Jacobs.
“We always have to sort of up the ante against “Each is interchangeable.”
what we’ve done before,” said Jacobs. “We have The spatial and aesthetic pliancy of
a corner on Park Avenue and 29th Street — a Gansevoort Park exemplifies the couple’s artistic
brand new build — and so the building itself is tendencies, insisting upon a slipperiness — an
exploration, rather than a
Rendering of the Blue Room in the concrete vision or finite
new Gansevoort Park
experience.
“We both agree that one
could perceive our work on
a lot of different levels,”
said Jacobs, “What to us
is sort of ‘softened mod-
ernism’ someone could say
is Art Deco — fine. We’re
happy that people see [our
design] and respond to
the subliminal things that
we incorporated. There are
some designers that have
such a strong vision that
their world is unchanged
over decades. That’s not
our case. We don’t design,
we discover. We peel away
the layers and then it’s
there.” BD

boutique DESIGN may/june 2010 • 27


The Trump SoHo: Tall,
Edmond Bakos
BD: What was Trump’s vision/concept
for the new SoHo property when the
company approached you?
EB: They were looking to create something
different from what had been built before
under the Trump brand — a space that
would exude a youthful luxury that would tie
into SoHo’s sensibility.
BD: The new property is a hotel and a
condominium — and a new build. Can
you talk about some of the challenges
you faced?
EB: The property is a “condo-hotel,” which
means that there will be some extended stay
guests, so creating spaces that repeat visitors
would find engaging and memorable was real-
ly important. We looked to create smaller
spaces and capture intimate seating areas
within the lobby and combine that with other
public space amenities like the library that
floats over the lobby and peeks out onto Varick
Street as a way to offer guests more of a per-
sonal experience.
28 • boutique DESIGN may/june 2010
Q & A
I N T E R V I E W E D B Y
ith a touch of controversy and much aplomb, the ponder-
W ous hotel-condo Trump SoHo has opened its gates onto
the streets of New York, featuring 391 rooms and the visionary
Rockwell Plays into SoHo’s ‘Urban Verticality’
C
elebrating a youthful exuberance, Edmond Bakos, a principal at Rockwell,
explained that Trump SoHo consciously echoes the surrounding streets and glit-
tering skyline, highlighting an urban sense of “verticality.” With accolades from the
2008 National Design Award by Smithsonian's Cooper-Hewitt, a lifetime achievement
award from Interiors magazine, and a Presidential Design award for the Grand Central
Station renovation, it's no surprise that Trump selected Rockwell as the firm for its newest
New York icon. Celebrating a cross-disciplinary design motto, where boundaries collapse
between art, design, theater and architecture, Rockwell insists that all 150 members of the
firm also pursue additional endeavors (including playwriting, set design and opera singing)
that consistently inform their work.
Many of the rooms are in suite configura- ate a dynamic dialogue with the surrounding
tions that really celebrate the views. The neighborhood. The palette is simple but rich
rooms are also outfitted with amenities that and was really chosen to highlight the larger
are welcoming and personal, such as the design gestures. The walnut lobby screen
“hearth” — the sliding door to the bedroom creates a warm interior wrapper — but it also
that reveals a mirror and an illuminated is about reflection and refraction and it mod-
niche with glass artifacts and
creates a sense of transfor-
mation and discovery. We
designed glass floor lamps
and patterned wood and
leather credenzas that were
intended to merge into the
pattern of the skyline.
BD: How did you choose
the palette and the overall
“look” of the design? How
would you describe it in
your own words?
EB: We wanted the design to
be a play between scale, craft
A one bedroom suite
and material that would cre-
Dark and Handsome
K A T I E T A N D Y

design work of the Rockwell Group, with Anthony DiGuiseppe

conceiving the Moroccan-inspired spa. Here, we talk to both
firms about their visions for the much anticipated property.

Anthony DiGuiseppe

DiGuiseppe Architecture Channels Morocco

I
t’s not easy to be the first in New York City — it’s all been done. But Trump has man-
aged to pull it off with the first authentic Middle Eastern spa in the city in the new
Trump SoHo. The 11,000 square-foot spa, masterminded by architect and designer,
Anthony DiGuiseppe, is spread among two floors, and offers a sincerely Moroccan flair
highlighting mosaics, carved wood and the intricate amenities of a high-end spa including
the three-part scrub-down of a hammam. Since 1996, DiGuiseppe Architecture has
focused solely on the hospitality industry. Its work at Emerson Resort & Spa in Mount
Tremper, New York caught the eyes of developers at Trump SoHo (including Miss Ivanka’s).
BD caught up with DiGuiseppe himself, principal of the 25-year-old company, to find out
what New York City can expect in design when the spa opens early this summer.

BD: What was Trump’s vision/concept
for the new SoHo spa when they
approached you?
AG: They had told me that they were looking
for a spa that had a Moroccan and Turkish feel.
They didn’t want an Asian spa — it was over-
Rendering of spa
done. It just so happens that one of the part-
ners, Alex Sapir, his family is from that region.
They felt they wanted to include that cultural
aspect into the design of the spa. I had shown
[Alex] the project we did at the Emerson
Resort & Spa and it had a Silk Road aspect to
it. We were buying and
importing Moroccan ceilings
— very colorful wood with a
lot of paintings — very deco-
rative. But when we showed
Alex and Ivanka, the two of
them that were the guiding
forces, they saw that and
they said, ‘I don’t think we
want to go that far.’ They said,
‘I think after we saw it we
wanted something more sooth-
ing, more modern, that has a
nod towards the Moroccan.’
‘That’s even better,’ I said.
We redid our presentation
and they said, ‘You’ve really hit
the mark here.’
BD: What materials were you drawn to
use and why? What sort of materials did
you feature in the bar area?
AG: On the left hand side in the spa is the bar
which is adjacent to the pool. It’s called
Bd’eah the bar of water. There are glass doors
that completely fold across so it creates a very
large opening. The inside space becomes the
outside space. Also, elaborate chandeliers —
from Hudson furniture in their showroom. The
table tops are done in glass which actually is an
interesting story. We didn’t know the name of
the bar at first. Then we found out and
thought, ‘God what do we do?! We need to
incorporate water into this design!’ We looked
at Anne Sacks who had gotten new tile and
there was this gorgeous glass tile that had these
blues embedded into it that looked like the
Mediterranean and this amorphic gold with
bubbles. We asked, ‘Can you make this into
table tops?’ She said, ‘Absolutely!’
The chairs are all being made in China
out of leather and bronze. The bar is done in

boutique DESIGN may/june 2010 • 29

 Q & A
ulates light from the traffic on Varick Street through the interplay
of the black mirror and the angular slots that were cut into the fins
themselves. This emphasis on urban verticality and reflections that
we developed for these screens is carried throughout the project,
from the stitched leather panels in the elevators, to the linear pat-
terned Turkish marble in the guestrooms, down to the reflective
metallic thread we used in the throw pillow fabric.
BD: What materials were you drawn to use and why?
EB: Rich American walnut and blackened metal; leather and stat-
uary bronze. It is all about the pairing of simple and naturally beau-
tiful materials. The rich textures and crafted nature of these mate-
rials underlines the approach to luxury that we developed for the
property itself. We used color selectively: soft blue jewel tones and
burgundy accents play off more neutral tones. In this context, the
texture of the carpet, the veining of the stone, and all the small
details that run throughout the property is really important to the
experience.
Lobby
BD: What kind of feeling are you trying to elicit when
guests walk in?
EB: We wanted the space to be a modern interpretation of an
urban townhouse or grand hotel that celebrated the magnificence
of the verticality, richness and sparkle of the city outside. We want-
ed the guests to immediately be confronted with a sense of wonder,
intimacy and luxury, so we installed a chandelier of thousands of
hand blown glass droplets and fiber optic filaments made by Sharon
Marston in the entry vestibule.
BD: What inspires you?
EB: We find inspirations from a variety of sources, and are always
looking for new ideas, new challenges, new juxtapositions, new
techniques. Our goal is to never stop expanding and exploring and
pushing boundaries.
30 • boutique DESIGN may/june 2010
Pool and Hammam mossaic
green, brown and gold onyx. A typical bar done in onyx is one
straight piece and backlit. We had a tight space, we couldn’t do a
straight bar, We wanted a curved shape almost like the curve that’s
the symbol of Turkey on the flag. When we came up with using the
onyx we figured out how to take a slab and slice it in 8-inch pieces
using those one in front of the other to create the curve. Those will
be lit and the top of the bar, instead of marble or wood or zinc, we
used 3-form that’s an orangey color lit from the barside edge with
LED lights.
BD: What are some of the challenges you faced?
AG: Well the biggest challenge was the fact that this spa was the
last thing that was done in the building. Normally, you would have
your mechanicals in place so this way you could access everything
very easily. In this case they did the tower first — they had the
rooms almost done at the time. It took us three months to find the
right locations, just to do the core drilling for the drains and not
change the design so much. Ceiling heights had to be altered as we
were building to accommodate the duct work. We had to be careful
of the kind of materials we chose. We priced every single item
(besides sheetrock) from the plumbing to the sinks to the tile.
Normally what a contractor would do, we did.
BD: Do you have a design motto?
AG: You know something; that’s something we don’t have. I think
people come to us because we do designs that are different for
every client. Our signature is that we produce designs that are
beautiful and work for the operations of the project and make the
client money — which is very important in hospitality.
BD: What inspires you?
AG: There are so many talented people I look to. I look to the great
hotels that have been built. Most great architects are not great inte-
rior designers — there are very few of those. Pierre Sharow. Frank
Lloyd Wright. Charles Macintosh. People that have produced very
rich interiors. Very handsome and very detailed. That’s the key to
our work and what I respect in other designers. Where something
doesn’t happen by happenstance — it’s planned and thought about
whether it’s the color or object or material. We really love to work
with new materials and to work with materials that evoke emotion.
I want people to walk in and say, ‘Oh my god!’ Not that it is over
the top, but it gives you a great feeling. BD
X \m\ek
hdboutique.com

September 14-15, 2010

Miami Beach Convention Center

Presented by

Produced by
Nielsen Expositions, a part of the Nielsen Company
 ThE 2010
Boutique 18
ink a graphic
novel of design You’ll see
this is going to be the
coolest hotel you’ve
B Y K E L L Y H U S H I N EVER seen!

There’s a hotel
IN THERE?

T
he hospitality industry is ready for a change –
a positive one. Things are looking better as
we edge through 2010, and designers have
gained a new appreciation for their craft. The suc-
ncom
ing te
cessful ones know how to innovate, evolve and per-
xt me
Hey, wfrom Lucy ssage haps most importantly, have fun. When designers are
ant to :
out t
he B go chec
Room oom Boom k able to work with a true celebration of what they
later
?
came into this business for — to create memorable
experiences through art — only then will they be able
to truly realize their potential. We have found a
young, innovative group that has done just that, and
this year, we bring you their story in pictures – for
beautiful things to look at are what we and the
design community live for. Have fun with the graphic
novel that is this year’s boutique 18.

32 • boutique DESIGN may/june 2010

 Ummm, I think I’m gonna
head back into the city...

TRUST ME, you’re going to

LOVE what’s in here,
I just know it!

Yeah…I don’t know Chaz, We asked:

it’s getting late and I have
plans later. 1 Briefly tell us about your background.

2 What are your goals as a designer and how do you work

those goals into your design?
3 How has the design industry changed for you and the
world in the last year?
4 What are the biggest challenges young designers face today?
5 If you could create anything, anything at all, what would it be?

It’s just right through

here — trust me, you’ll thank
me once we’re there.
You are one of this
year’s boutique 18!
I’m so happy
I could cry!

boutique DESIGN may/june 2010 • 33

 Jared Epps
JSE Designs, New York
1 I grew up in New
Hampshire where my par-
ents allowed me to construct,
destruct and reconstruct my
bedroom on a monthly basis.
This is when I started to realize
the power of space and design.
Since graduating with a BA in
interior design from Pratt, some
of my career highlights include
being lead designer for the
Emerson Resort & Spa for
DiGuiseppe Architecture +
Interior Design and the Trump
Hotel in Dubai for BBG-BBGM.
2 My goal is to create a
space more beautiful, en-
vironmentally-friendly and func-
tional than my client could have
ever imagined. Every compo-
nent in design allows for an
opportunity to find the perfect
integration of beauty, advance-
ment and functionality, and it is
my job to marry all three to form
3
a cohesive, breathtaking space.
The acronym LEED has
single-handedly changed
the design industry seemingly
overnight. As we learn more and
more about how much of an
impact we have on the environ-
ment as designers, we now have
an obligation to ensure our
designs are sustainable and envi-
ronmentally-friendly. Becoming
LEED accredited was worth all
the time and effort — I feel I
have the tools to make a differ-
ence with my designs.
4 It seems that a young
designer’s biggest chal-
lenge may be youth! While our
fresh ideas are appreciated, it
often seems that years in the
industry are what most people
34 • boutique DESIGN may/june 2010
Trump Hotel, Dubai, presidential suite
Bedroom at the Emerson Hotel
value. Therefore, it is our job as
young designers to demon-
strate that knowledge not only
5 I would create a small design
firm that integrates new sus-
tainable products as well as
comes from experience but reclaimed items into beautiful,
also from dedication, innova- thoughtful, new spaces. I’d focus
tions by challenging traditions, on interiors that will not only with-
and having a solid network of stand the test of time aesthetically
peers. but also environmentally.
Vasiliki Zannettis
d-ash design, New York
2 One of my goals is to bring interior design
to the forefront in terms of its important
contribution to the design world. For me this is
done by creating spaces and design that are
1 I grew up in Astoria,
Queens and was raised
in a family and environment
inventive, innovative and unique. I also share a
mutual philosophy and goal with d-ash design
in that I strive to translate our client’s vision
that nurtured art and design. into spaces that tell a story and evoke emotion.
I was encouraged to travel,
explore and take chances in
life. These factors greatly
3 2009 challenged us designers to do more
with fewer resources, without compro-
mising design integrity. This year has taught
influenced my decision to become a designer. I me that perseverance and hard work pay off. It
graduated from Parsons The New School for has also influenced me to take a step back and
Design with a BFA in interior design. I’m happy to look to the fundamentals of good design.
say I followed my passion; d-ash design was my
first job out of college. 4 A big challenge that we face is securing
confidence and finding our own voice.
Maintaining conviction and a point of
view while learning to work in collabo-
ration with a team, is certainly a chal-
lenge and a skill that young designers
need to master.
5 I would create a program for interi-
or designers to serve a greater role
in their communities in the same man-
ner that graphics, product designers and
architects have done in the past and
continue to do. That and design a space
with complete artistic license (but that
Lobby at Hotel Baronette Renaissance
might be slightly dangerous).
 Kris Pienschke just need to keep looking. Once you get the job it is then the
struggle of climbing that ladder — it’s the passion and the chal-
DiLeonardo International, Inc., Rhode Island
lenge of this field that will keep you going.

1 I have always had a creative/construc-

tive side, getting the creative sponta-
neous design side from my seamstress
5 Well we all know that as a designer we create imaginary
spaces, things that you would create if you had an endless
amount of money and time. I would love to be able to see my 10
mother and the constructive side from my imaginary homes built for others to enjoy so then I can design 10
engineer father. I didn’t know that this more imaginary homes.
would take me into interior design until
junior year of high school when I had a
simple positive negative art assignment — you could say the light
bulb just clicked. I attended Columbus College of Art and Design,
and upon graduating I got a job in hospitality design at
DiLeonardo International.

2 My goal is to design environments that complement the

people and the activities in them. Of course we all want our
designs to be noticed and to be drooled over, but I want them to
relate to the location and the culture in which they live in.

3 The demands have changed, both from a client and a design-

er perspective. Clients want to have a tighter direction of
before we deliver a presentation. Also, the location of where we see
the design world flourishing has changed. Areas you might have not
heard of before are starting to grow and develop into gorgeous des-
tinations.

4 Finding a job, and we are not just talking about the dream
job anymore. The market is tight, but there are jobs – you
Marriott Bangalore Golf Resort lobby

Brynnen Callahan poetic, be collaborative, be pur- ly trying to accomplish?”

BBG-BBGM, New York

poseful and travel. I’ve always
been an adventurous type, and I
love to travel — I think it opens
4 Working too hard — your
time is valuable. People
will respect your time if you

1 As the daughter of an
architect, I grew up around
design. I took a huge liking to
design ever
since. Two
years ago, I
hospitality design, discovered
BBG-BBGM’s Scottsdale loca-
tion and have been in hospitality
transferred to the office in New
York City where I’ve been work-
ing on the Rosewood Abu
Rendering of Ritz Carlton
Phoenix presidential suite
you up as a person and enriches
the depth of what you can offer
as an interior designer.
3 Design is creative, but it is
also a business. For
designers that began their
Dhabi Hotel and careers post 9/11, this is the first
most recently, I time we are seeing any sort of
have accepted an economic downturn from a pro-
on-site position in fessional perspective. As a cre-
Abu Dhabi to ative individual, I believe that
oversee the interi- forced change is one of the
ors portion of the biggest catalysts for creativity.
respect yourself. Ask questions.
Have confidence in your talents
— you wouldn’t have gotten this
far without it. Believe in your-
self, and your designs and peo-
ple will listen. Travel. Know the
business. I think college design
programs largely under-value
the business aspect of design,
and thanks to our right brained
nature, most designers could
use business knowledge more
than anything.

2
construction.
My goals as a
designer are:
When you can’t continue doing
what you’ve always done, you
have to jump off the wheel and
5 The most amazing design
studio ever known to
man…and more time! (Double
inspire people, be ask yourself, “What are we real- yellow to the max!)

36 • boutique DESIGN may/june 2010

Ray Chuang Rendering of luxury hotel project in Cancun

Rockwell Group, New York

1 I am originally
from Taiwan
and immigrated to
much research as I
can about the project
before I start design-
the United States ing. I believe this is a
when I was 19. I critical step in the
earned my under- design process that
graduate degree in helps me gain a bet-
interior design at ter understanding
FIT in NYC and I have been about what my approach Chinese restaurant in Shanghai
working as an interior designer at should be toward style, fur-
the Rockwell Group for two and niture, finish, art, color and over- new positions. On a positive
half years. all palette. note, this past year has brought

2 I enjoy creating designs

that make people wonder,
explore, relax or have fun. I usual-
ly spend a lot of time doing as
3 Last year was a sad year.
Many of my friends in the
design industry lost their jobs
me a new vision of the world
besides the United States. I am
now looking forward to experi- more positive way instead of
and still have a hard time finding ences that enrich my life in a searching for the material.

4 Throughout time many

architects, designers and

Leora Oh Hard Rock Hollywood High Limit private dining artists have already created so
many beautiful works all over the
Cleo Design, Las Vegas world that sometimes it feels
like they have used all kinds of

1 I have a Bachelor of Arts

degree in interior design,
and I am NCIDQ Certified.
geometric shapes, patterns,
materials already; how can one
create something original and
I’ve been in the industry for different when almost everything
about six and a half years. I am has already been created? I think
currently employed at Cleo creating a “wow” feeling about a
Design as a senior project space is one of my many chal-
designer. I was born and raised in Oahu, Hawaii lenges as a designer.
and have been living in Las Vegas for 11 years.

2 As a designer, my goal is to create innovative

and functional spaces. My vision and style,
5 I would like to create a
“Magic Door” which can
take you to everywhere and any-
along with the team of Cleo designers must meet where. It would look like a regu-
the needs of the client(s), consumers and envi- lar door with a frame, and you
ronment. When designing, the goal is to create an would lean it on the wall and
awe-inspiring experience. It’s also a goal of mine to program where you are going.
motivate other designers through my work. In the Once you open the door, you are
end, the goal is to create an awe-inspiring and there! People won’t need to
unique experience.

3 The design industry has changed for myself

and the world in the last year with the econ-
omy and slower pace of building. Building has
slowed down, and clients are being more eco-
nomical. They’re taking their time to make all the
right decisions.
4 At the present time, I would have to say the
economy, especially for young and upcom-
ing designers. In the current economic state it’s
worry about living in the city or
country because it’s only a door
away. People can go to the beach
more competitive to get work and gain industry when it rains in the city. I can
experience. think of so many advantages in
5 A historically themed project that is LEED
certified and thus green.
having Magic Door, life would be
better and easier.

boutique DESIGN may/june 2010 • 37

 Heather Maloney Reliquary Bath House in the new Hard Rock, Las Vegas

Morgans Hotel Group, New York

1 I graduated from the New York School of

Interior Design with a BFA in interior
design and went on to work in the luxury res-
idential market for nine years including seven
years with David Easton Inc. in various roles.
In 2007, I joined Restoration Hardware and
after working there for a year, I came back to
New York and joined the Morgans Hotel Group design team and
have worked on many great projects including the Ames, Boston,
and the soon to open Mondrian, Soho, NY.

2 My number one goal in any project is to create a beautiful

space, but as that is subjective, you can find a great range of
styles in the projects I have worked on. Secondly would be to work
successfully within the challenges of any given project whether it is
budget, timeline or location.

3 I think the biggest changes are scope and budget. Developers,

owners and operators still want the same look and the same
level of design but for a much smaller budget. A key factor in being
work. With each new hotel opening we are changing TVs, docking
stations, alarm clocks and meeting space technology which will also
able to deliver this is being able to find great sources to execute the affect the design of a space. Additionally, being able to maintain a cer-
product and also being able to redesign a space or furnishing so it is tain level of skills and speed of work is critical.
more cost effective yet still is attractive and functional.

4 I think all designers, young and seasoned, face constant chal-

lenges with the biggest being technology, skill set and speed of
5 I love product! I love to concept lifestyles and then create
around that. It's like creating a world within a world and then
developing all the nuanced pieces that best exemplify that world.

redesigned the spaces in our home. We vis- be trendy or throw-

Danielle Peacox ited museums and art galleries all while I away but current and
ForrestPerkins, Dallas was collecting my personal style along the up-to-date.

1
way. I studied at the University of North
I remember always following behind Texas where I earned a Bachelor of Fine Arts
my ever-so-stylish mother when I was degree in interior design. Right after, I began
3 As money tight-
ens, people re-
evaluate what really
growing up as she created, designed and my career in hospitality design and further matters in their lives.
developed my signa- It is important for us
ture style of strong to address this and provide a comfortable
inventive color combi- atmosphere while focusing on quality.
nations with a sophis- Expensive does not equal luxury; we have
ticated touch. shifted to put the focus back on what real-

2 My goal is to cre-
ate. To create an
experience that others
ly matters.

4 It is important to define who you are

as a designer and to stay true to your-
will enjoy and leave self and your personal design philosophies. I
with their jaws on the will always be me and stay true to my inspi-
floor making that last- ration…which changes every day.

Penthouse dining room in the Palmer House Hilton, Chicago

ing impression of
spaces that are classic
and timeless…not to
5 A time machine. I’m like a kid who
wants to know every detail and doesn’t
want to miss a moment.

38 • boutique DESIGN may/june 2010

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 Alison McGovern Rendering of lobby in NYC Hampshire Hotel

Stonehill & Taylor, New York

1 After working for

several years in the
publishing and fashion
industries in NYC, I
decided to pursue my
lifelong passion for inte-
rior design and attended
Parsons School of Design in
2004. During my final semester
I was offered an opportunity at
Stonehill & Taylor where I have
served as a project designer for
nearly five years. In addition to
hospitality design, I also work
on residential design projects
and enjoy the challenges and
benefits that are presented
when simultaneously working in
both worlds.
out in the crowd
to get your foot in
the door may be
difficult, but it’s
also a great oppor-
tunity to develop
creative ways to
market yourself.
5 Since childhood, I have
had the great fortune of
spending summer vacations
with my family on Martha’s
Vineyard. The Vineyard is a mag- peace. I would love to design and er and yet everyone’s private
ical place where I’m truly able to build an island retreat where the space would reflect their unique
connect with myself and feel at entire family could come togeth- personal style and design sense.
Gino Castano
Gino Castano, San Francisco
4 Lack of mentors. I
was very lucky to have

2 With every project I aspire

to bring eclectic elements,
materials and finishes together
to create an interesting and
comfortable environment with a
1 I was born and raised in Hollywood and
residential sensibility. I believe
that striking a balance between
creating the human experience
lived by the guest while respect-
ing the sound financial deci-
sions on behalf of the client is
central to hospitality design.
influenced by fashion, pop culture and art.
Before embarking on my own, I worked for well-
known high-end residential designers then was
recruited by Cheryl Rowley Design. Later, drawn
to the beauty of San Francisco, I traveled north to
work at BAMO where I became the lead senior
FF&E designer on several projects. I strive to
bring my passion, wit and personal vision to every
project.
5 A Latino Cultural Center. Growing up I never
wonderful mentors like
Michael Booth, Gerry Jue,
Dorothy Green and Cheryl
Rowley guide me toward
balancing beautiful design
and the politics of the industry. Too many designers
are thrown into the fire with no supervision and
leaders not sharing knowledge necessary for the
next generation to be successful.
was aware of how culturally rich the Latino
culture and Spanish language was until moving to

3 With the folding of so

many design publications
along with the budget cuts that
2 The drive to provide clients with exceptional
have impacted our creative
service and to exceed expectations in what-
ever style best suits the commission is my main
priority. I keep the lines of communication open
Spain to finish school. I would love to create a space
that would feature the diverse richness that all the
Latino countries have contributed to the world
panorama: film, food, science, art and music.
Photo courtesy of BAMO (Lobby at The Loden)

decisions, there has been this
increased need to validate the
importance and value of interi-
or design. We need to think
about what will stretch the
client’s dollar even further
while maintaining the integrity
of the design.
3 Of course the economy has made
with the client and remain flexible.
Accessibility at all times is crucial in our
field and listening to the client’s input and
translating that into a successful space
should be everyone’s goal.
everyone re-examine their business
development and made people think “out-

4 The extremely tight job

market is a huge challenge
for young designers. Standing
side the box.” The need to be flexible and
adaptive to change has become even more
crucial to running a successful firm today.
Lobby fireplace at The Loden, Vancouver

40 • boutique DESIGN may/june 2010

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 Ashley Manhan Katsuya LA Live restaurant
Avenue Interior Design, Los Angeles

1 I grew up in Southern California, from a

household with a huge emphasis on cre-
ativity and design. Our home was a mix of
eclectic flea market finds, antiques and
acquired collectables from the motion picture
films my parents had worked on. This unique
home paved the way to my design career.
Before starting my own company, I most recently spent my time work-
ing at SBE with Theresa Fatino and Phillipe Starck.

2 My goal as a designer is to always be moving forward. I’ve learned

that taking risks and listening to that voice inside is what creates
success and breakthroughs in design. I want the client and customer
to be moved and to feel a sense of being home, so incorporating things
like plush throw blankets at restaurant seating groups, collections of
antique accessories in a lobby or thoughtful amenities in a guestroom ly forcing us to pare down, and
truly create a unique and memorable experience. instead of thinking of this as a loss,

3 This year I had the opportunity to take a leap and start my own
design company. Rather than dwelling on the changing envi-
ronment I took this time as a unique opportunity to make lemonade
we should think of it as an opportune
time to push the box and stand out. It’s the innovative ideas that help
create identity in young designers.
out of lemons, seizing the opportunity.

4 One of the biggest challenges young designers face today is

working within our challenging economy. Budgets are constant-
5 I would create the perfect boutique hotel: pick the location,
the name, the brand, the design, every possible ele-
ment…and then I’d move there!

Morriah Mryszuk tion, I returned to DC

to begin my career
that the industry will bounce
back stronger and more resilient
ForrestPerkins, Washington D.C. with ForrestPerkins. than before.

1 My parents are both design-

ers and my grandparents are
artists, which cultivated an enor-
mous amount of creativity in our
Long Island home — and as they
say, “the apple doesn’t fall far
from the tree.” Prior to my career
in design, I received my Masters
Renaissance Potomac Yards restaurant
in art history from The
George Washington
University and then
became director of
a contemporary art
gallery in Washington DC. I left
the gallery to earn a degree in
interior design and upon gradua-
2 Good design has
the power to
produce dynamic and
memorable experi-
ences. As a designer, I
strive to create unique spaces
that arouse a positive feeling
within each and every guest.
Ultimately, I hope to inspire,
awe and generally make people
feel happy.
4 Young designers are faced
with a very different eco-
nomic climate and general
industry perspective than when
I entered my career. With all of
the difficulties we have recently
faced, it is very easy to become
indifferent. Escaping that men-
tality, pushing forward, and
then coming out ahead is by far
the biggest challenge.

3 This past year’s economic

challenges have been
tumultuous for the design
industry itself but also for the
design community. Challenging
times create unexpected oppor-
tunities for growth and intro-
spection, and I am optimistic
5 I would love to create a
large-scale public art instal-
lation in an urban setting. It
would be composed of a single
commonplace object repeated a
thousand times over, that people
could walk by, enjoy, and interact
with every day.

42 • boutique DESIGN may/june 2010

 Grace Mack Italian restaurant Panzano

Puccini Group, San Francisco

1 My worldview was
created by artists.
As the daughter of a
sculptor and a painter,
the expectation to fol-
low the family trade was
natural, but I decided to
rebel. While my sister studied
theater and writing, I pursued
international relations. However,
by 26, I knew I needed to return
to my creative roots, and found
myself in a Masters program for
interior design.
design is a driving
force for repeat cus-
tomers — even if it
is an unconscious
decision. Often when
we begin conceptual
design, we like to
assign a personality to the
restaurant to infuse character
and warmth into the space —
something or someone slightly
familiar, but unique. Keeping
3 Clients tend to have short-
er lead times and smaller
budgets, which pushes designers
repurpose existing furniture and
fixtures can make a huge differ-
ence in cost and production time.
that personality in mind leads to
a cohesive final product that is
to be more creative when sourc-
ing products. Understanding 4 It is important to be aware
of emerging technology,

2 As a restaurant designer, I
want to make sure the
rewarded with the success of
guests returning time after time.
how to take advantage of local
resources near the project, and
materials and applications to keep
a competitive edge. Designers
need to be able to carry an idea
from a concept sketch to a

Jennifer Shallenberger Farley Bar at Cavallo Point The Lodge detailed drawing in CAD, and
sometimes even a 3-D model or
BraytonHughes Design Studio, rendered elevation. Ingesting and
San Francisco processing all the new ideas and
products being introduced is

1 I stayed in my home
state of Maryland for
three years after high school
studying a variety of sub-
jects with no clear direction.
Not until an eye-opening
and inspiring trip to New
York City did it become clear that I needed to be
doing something creative. I packed my bags and
moved to San Francisco to study interior design.
During my education I realized my passion for
hospitality design.
Projects have stalled or have been put on hold
indefinitely. Design is typically considered a lux-
ury and now more than ever, it is important that
we design responsibly and efficiently.
essential and often exciting, how-
ever, it can be a full-time job. As
we’re all bombarded with images
and ideas, we have to keep our fil-
ters on and question what will be
most relevant and inspirational for
our work.
5 My parents live on a non-
working farm, where the
barn has been converted into my
father’s sculpture studio. I would

2 I am passionate about expanding my port-
4 One of our biggest challenges today is try-
ing to provide our international clients with
love to work in the studio with
my father to create a furniture
Photo courtesy of David Wakely (Farley Bar)

folio to encompass smaller boutique hotels
as well as larger international high-end resorts.
While doing so, I continue to cultivate my
knowledge and understanding of the furniture
and lighting manufacturing processes in order to
provide myself with the basis to start my own
quality products sourced locally. Western meth-
ods of design tend to be much more sophisticat-
ed than some of our international sources.
Collaborating with local vendors to provide us
with the quality and information we are accus-
tomed to seems to be an endless effort.
line. I have a vision of a chair
and table that combine the
beauty of the twisted organic
branch and a Lucite frame that
it winds in and out of. My
father’s technical skills and

3
custom line of luxury furnishings in the future.
The economic downturn has provided dev-
astating challenges for many people, not
just for those of us in the design industry.
5 I would create a collection of furniture and
lighting that satisfies the designer’s need
for beautiful pieces that are both functional
understanding of materiality,
along with my contemporary
interiors perspective, would be
and affordable. an exciting combination.

44 • boutique DESIGN may/june 2010

B L O C . D E S I G N M A R K G A B B E R TA S ( L O N D O N )

S U P E R B LY C R A F T E D T E A K , W O V E N A N D S TA I N L E S S S T E E L O U T D O O R F U R N I T U R E

C ATA L O G R E Q U E S T S . 8 8 8 5 6 2 3 2 5 8

G L O S T E R , P O B O X 7 3 8 , S O U T H B O S T O N , V A 2 4 5 9 2 . T E L . 4 3 4 5 7 5 1 0 0 3 . FA X . 4 3 4 5 7 5 1 5 0 3

E M A I L . S A L E S @ G L O S T E R . C O M . W W W. G L O S T E R P R O . C O M
 Jen Mazziotta
Cheryl Rowley Design, Beverly Hills, CA

1 I am one of the rare Los Angeles natives. After receiving an

undergraduate degree in psychology I traveled to Italy where I
participated in a language, artwork and architectural study abroad
program. The culture, landscape and architecture were so inspiring
that I made a left turn and decided to pursue design. After working
for nearly two years in high-end residential design, I joined Cheryl
Rowley Design as an intern, and have since been part of their team
for four years, working on residential and hospitality projects.

2 My main goal as an interior designer is to integrate the human

experience into the design of a space. The design aesthetic
must not compromise function or comfort. Ideal design incorpo- Rendering of presidential suite at the
rates sensory experiences into a result that is as functional as it is Four Seasons, St. Petersburg, Russia
aesthetically satisfying.

3 This last year has proven to be economically challenging for

the design industry. When faced with such hardships we are
driven to change our perspective and venture into new
design will succeed. Budget constraints tend to limit what we typi-
cally think of as creative sources so the challenge today is to examine
new alternatives and view old solutions in inventive ways.
markets that may not have been considered previously,
such as senior living and projects abroad. It also pres-
ents an opportunity to assume more responsibility and
5 I would design an art museum. Creating a timeless,
architectural space while studying the way people
move through a gallery to view the artwork is intriguing
creates a team ‘esprit de corps.’ to me. Hotel design requires a very specific skill set and

4 The biggest challenge young designers face today is

standing by their original vision to ensure that their
knowledge base; it would be interesting to broaden this
knowledge through the design of an art museum.

Shaleah Soliven 2 My main goal as

a designer is to
boutique, while being
friendly to the budget
Gensler, Santa Monica, CA be a good problem conscious traveler.

1 Interior design had always

intrigued me, and after one
visit at Harrington College of
Design, I was enrolled. Shortly
after graduating I was moving
across the country to work in the
Rendering of guestroom at the Shore Hotel, Santa Monica
Santa Monica office at Gensler. I
have settled into life and created
a family here with my husband
Vince and daughter Sydney, two
very important sources of moti-
vation and inspiration.
solver. To always be on
the hunt for new ideas
and intelligent ways to
approach design. I try
to create spaces that are interest-
ing and impactful without being
overly complicated. Every aspect
of a space is equally important,
but there should be a couple
stars and everything else plays a
supporting role.
4 One of the big-
gest challenges
young designers face in
these times is also a
huge advantage they have. Less
staff and smaller teams mean
more responsibility and leadership
for the younger designers. You
have to take more initiative, learn-
ing and figuring things out as you
go. This is the best way to learn.

3 The design industry has

changed drastically in the
past year. Projects have smaller
budgets, but clients are still
craving spaces that are time-
less, unique, and feel upscale.
As a result, there are more
hotels on the market that feel
5 If I could create anything at
all, it would be a shelter for
children. It would be more than a
shelter, it would be a home. A
place where they would feel safe,
comfortable and loved. A place of
refuge, and one that also pro-
motes learning and creativity.

46 • boutique DESIGN may/june 2010

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 Leana Bartlett
Kelly Wearstler, Los Angeles
1 I graduated with a graphic
design degree from the
University of Michigan. While
working and living in New York
City, I obtained my second
degree in design at the New
York School of Interior Design.
I had worked in both retail
design and corporate
branding before mov-
ing to Los Angeles in
2005. I continued my
design career by work-
ing and creating a
retail and design stu-
dio and eventually
working for Commune Design
on the newly designed Juicy
Couture stores. In 2007, I
joined Kelly Wearstler, Inc.
where I’ve have had the pleas-
ure of helping Kelly to design
many prestigious projects.
2 Good design is based on
the number of associa-
tions and connections you make
to objects within a space — the
more layered and complex the
better. When mixing custom
design pieces with vintage
pieces, or art from up-and-com-
ing artists, different design peri-
ods, etc. — everything needs to
have a thread that ties them
together. A good designer sees
those connections and some-
how finds a balance that makes
everything work in an unexpect-
ed way.
3 Clients are more focused
on being budget conscious
and eco-friendly. They are being
smarter about what they pur-
chase. There used to be a kind of
blind extravagance. Today people
are more restrained.
48 • boutique DESIGN may/june 2010
Express lobby at the Viceroy, Miami
4 With so many home
design TV shows,
antique websites, maga-
zine how-to tutorials, there
is a sense that interior
design is more of a hobby
than a profession. I would
never tell my accountant
how to do my
taxes, but he may to being able to
tell me how to paint achieve the best out-
a room. Instilling a come.
sense of trust and
respect with your
client is paramount
5 I have been obsessed with
ceramics since college. I
dream of a sunny little studio
where I can create tableware,
wall tiles, sculpture…I don’t
think I would ever leave!
Kaydi Joyner ways of looking at old styles, materials and appli-
cations.
Wilson Associates, Dallas
3 Domestically, I have seen the industry
move more toward renovating existing
1 I was born in Dallas, spaces verses focusing on new construction.
Texas. Growing up, I Internationally, especially in the Middle East,
was extremely fortunate to the market for new construction only continues
travel extensively around the to grow. However, whether it is new construc-
world starting at a very young tion or a renovation there is much more caution
age. I cannot credit these and competition when dealing with pricing,
experiences enough for how fees, and overall budget issues.
much they truly influenced my design aesthetic.
While finishing my degree in interior design at
Texas Tech University, I
4 A huge challenge for young designers,
especially directly out of school, is finding
a job in this industry. It
landed an internship at Rendering of restaurant inside is important for young
Wilson Associates. After Makkah hotel development designers not to get dis-
graduation, I began work- couraged and stay
ing full time at Wilson involved in design or in
and have been here ever any creative outlet any
since. way they can. Attend
2 My goal as a design-
er is to constantly
exhibits at museums in
your area. Understand
design out of the box and
to strive to push the client
what it is that you like and
why you are drawn to it.
to stray from the expected.
I love creating completely
custom spaces, entirely
5 I would absolutely
love to design a line
of shoes out of some of
unique to each client, by the amazing materials I
introducing them to new work with on a daily basis.
 I N R E F L E C T I O N
Still in the GameB Y K E L L E Y
Erin Kendrew Then & Now: Designer, Cheryl Rowley Design
1. What has made you stay with Cheryl
Rowley Design over the years?
We get a diverse group of projects, which is
nice for a change. I’ve been comfortable here
and I’m still learning something every day,
which I think is something I wrote about in
my first interview. It keeps me interested and
involved.
2. What do you think has been the biggest change in the
industry since you won the award?
Other than the obvious that there isn’t as much work to choose from,
I think I’ve seen a lot of entrepreneurial spirit and ambition in some
Momoko Morton Then: Designer at 4240 Architecture | Now: Principal, NAKA Designs
1. How does your firm differ in philos-
ophy from one like 4240?
I’ve worked only at architectural firms in the
past. Being an interior designer within an archi-
tecture firm I think they always focus on archi-
tecture — it’s hard to really truly integrate it but
we’ve made that our biggest priority here.
When we start a project, interiors and archi-
tecture start at the same time, interiors don’t
come on the project three or four months after the architecture is started.
2. How is does having an ownership stake in a firm change
the game for you?
Susana Simonpietri Then: Designer at Studio Gaia | Now: Owner of Chango Design and Co.
1. When we featured you in the
Boutique 18 you were with another firm.
What’s happened since?
I left after I completed one of my projects and
I was offered a senior associate position at
Zeff Design. I worked with them on a bunch
of hospitality projects, I did a lot of restaurants
in the city and pitches for hotels and a project
in Hong Kong which was great. I had been
doing my individual projects since 2007 but
finally last June I decided I had a big enough
client to move on my own. I decided to make
it official and start my own firm.
50 • boutique DESIGN may/june 2010
G R A N G E R
friends and co-workers. I’ve seen a lot of friends who’ve started their
own small businesses and are using the Internet and all of these net-
working tools to promote themselves. While I’m not in that position,
I absolutely admire their creativity and thinking outside the box,
which is pretty amazing to see.
3. What advice do you have for the new Boutique 18?
I think you have to stay true to yourself and be able to respect the
process. Constantly look for inspiration and utilize it as best you can.
4. What about the hospitality design industry makes you most
optimistic at the moment?
The sense of teamwork that we have in the office right now is really high.
It’s a 100 percent different. Having that ownership and the control over
decision making and the direction of the firm is huge. Even though the
economy is really tough and we started right as the economy started to
go down the drain, I wouldn’t go back to salary for anything.
3. What do you think has been the biggest change in the
industry since you won the award?
In 2007 there was so much money in the industry. Larger architec-
tural practices didn’t have to worry about being lean and efficient.
There’s always a budget, there always has been and there always will
be. But nowadays, it’s about being a lot more creative to give our
clients that product that they truly want with a tighter schedule and
a tighter budget.
2. How have you managed in spite of economic turmoil?
I try to keep my overhead as low as possible because I knew that
this was happening [in the economy] and I knew it was a risk. At
the same time, it’s been very interesting because clients are still out
there, people are still doing restaurants, people are still doing resi-
dences, they’re not necessarily willing to pay the fees that a large
firm has. My overhead is lower and I’m able to give them the same
product for a lot less, so it’s been good in that sense.
3. How is owning your own firm different than being a design-
er at one?
It’s been fantastic for me. It’s scary but what makes it worth it is
the freedom. I was actually quite free at both firms before, but
I
t was just three years ago that BD initiated its annual Boutique 18 awards and the industry’s atmosphere today could not be more different.
We’ve gone from a heyday in hospitality to the polar opposite. The heady feeling in the design world changed as construction slowed to a crawl
and firms cut staff. Many were forced to leave the industry. But like the tenacious bunch that is being honored this year, we caught up with
three original winners, who have not only stuck around, but have continued transforming and evolving. Here, they return to our pages to offer
insight into the industry today and share their excitement for the future.

We’ve always kind of structured our office in teams, but the lines are a
little gray right now. I know who my project manager is, but if I need
help with researching an FF&E piece or if I’m in the trenches she’s right
there with me. We’re just keeping the teamwork spirit going strong.

5. What’s been the highlight of your career to date?

At HD Boutique I got to give a tour of the Epic Hotel in Miami,
which I installed in 2009. Often times you install a job and it’s rush,
rush, rush, get everything done, get it beautiful, set it up the way you
want it, and if you’re lucky, you get to go back and you can see it lived
in. But getting to see other designers’ reactions to it, getting to explain
the process and have them ask really informed questions and know-
ing the answer because you’ve lived this design for two years — it’s
really rewarding to hear from other people that they appreciate what
Epic Hotel lobby lounge you and your team have done.

4. How have you stayed afloat in tough times? Living area at

There’s been so little work here in the states that I’d ArraBelle, Vail, CO
guess 80 percent of our projects are now in China. Right
now it’s all hospitality. We have a couple of small resi-
dential projects. That’s another thing with this economy,
we’ll take anything. To be honest, my background is hos-
pitality 100 percent, but getting to do residential is an
enlightening experience and it’s really fun to get so close
to the client.

5. What advice do you have for the up-and-coming

Master Bedroom at ArraBelle, Vail, CO
designers that are this year’s winners?
It’s worth it to take the risk to do what’s going to make you happy. I started my own company, which is
took a risk to become a designer, I used to be an investment banker an even bigger pay cut. But it’s so
making tons of ridiculous money and took a huge pay cut. Then satisfying.

being on your own — that kind of freedom you cannot put

A villa at Isabella Hotel
a price on.

4. What career guidance would you give to this year’s

Boutique 18?
Try to open your arms to as much work as your firm will throw
at you. You’ll be able to shine quicker if you have the talent.

5. What excites you most about the hospitality design

industry right now?
I’m moving toward the direction of restaurants. I think the
hotel industry is a little bit paralyzed because it requires
so much investment. I’m looking forward to getting
restaurant and eatery projects because I know they’re
going to continue to move forward. BD

boutique DESIGN may/june 2010 • 51

 W O R L D B Y D E S I G N

South
Africa
N

>
HERE’S WHERE
WORLD BY DESIGN

Out
MAY BE HEADING IN
THE NEXT ISSUE:

The Caribbean
South Africa

of Africa Design a World Away

W
>
South America
The Middle East
Western Europe
Eastern Europe
> E

Far East
B Y K A T I E T A N D Y Australia
Scandinavia
North America
India
>

In this edition of WBD, we bring you into the action with a

S
easoned travelers surely have a thumb tack or two on South
Africa, one of the continent’s most touristed countries. Cities like
Cape Town and Johannesburg attract throngs of visitors who hope
to catch a glimpse of African culture through Kwaito music or rugby and
cricket playing, or escape to nearby natural wonders like the Limpopo
Game Reserve or Mpumalanga, “Paradise Country,” where safari tours
give glances into the iconic wildlife of the region. Tourism is by no
means new to South Africa, but the addition of high-design hotels is a
phenomenon that has gained momentum. With the upcoming 2010
FIFA World Cup, there has been more demand for accommodations,
and hoteliers are taking advantage of the world’s best designers.
high-profile resort in Stellenbosch, a town in the Western Cape
province of South Africa, resting on the banks of the Eerste River.
Known for its rolling hills and surrounding mountains, the town is
a picturesque setting for David Collins’ newly designed Delaire
Graff Estate. About 30 miles west, Heath Nash is sweeping the art
world of Cape Town with his repurposed products — anything
from light frames to wire sculptures — that add a contemporary
and untraditional South African character to any interior.
Remember to check out our sidebar for other properties and
designers to watch in the region.

52 • boutique DESIGN may/june 2010

 W O R L D B Y D E S I G N

Grapes and Grandeur

The Delaire Graff Estate

ness you can see we influence fashion too with some of our colors and

I
nspired by undulating topogra-
David Collins
phy, Yves Saint Laurent and textures. It’s all a dialogue. That’s the way it should be.”
the renowned warmth of Irish The restaurant, helmed by Chef Christiaan Campbell, offers sea-
hospitality, David Collins has craft- sonal-inspired cuisine and a deft straddling of rustic and supple mate-
ed The Delaire Graff Estate — an rials, featuring industrial chandeliers, wooden chairs with a touch of
epicurean village featuring a bou- gray leather and a serpentine orange banquet winding through the
tique hotel and spa, a lavish indoor portion, echoing the vivid colors often featured in tribal art.
restaurant and an extensive winery As for the outdoor area, Collins said that he wanted it to be “quite
— all tucked into the sweeping organic,” stating, “There are six months where you can eat outside and
vista of the Helshoogte Mountain
Pass in Stellenbosch, South Africa. The serpentine orange banquette of the indoor dining room at The Delaire
Laurence Graff, Chairman of Graff Diamonds International Ltd.
commissioned Collins to design a property that would at once cele-
brate the rural splendor of the surrounding land, while also providing
a pristine pocket of luxury where guests could indulge every sense.
“[Graff] is a client that is passionate about everything he does
whether it’s the diamond or the wine business and he is particularly
passionate about this location of this special piece of land,” said
Collins. “He asked me to respect the location of the hotel and also the
environment near the lodges. I’ve been out [there] at various times of
the year and what is quite extraordinary is the way the light changes
the landscape, especially in late afternoon — it takes on the look of
photorealism. It has this incredible contrast between the completely
flawless blue skies and these rock formations, mountains and rolling
hills.”
One of the first elements Collins considered among all the African
fodder informing his design work was an Yves Saint Laurent collec-
tion from the mid-seventies highlighting safari jackets, beaded work
and intricate African fabrics.
“I’m always inspired by these sorts of things,” said Collins. “I’m a
consumer. I think that when you look at people in the fashion busi-

54 • boutique DESIGN may/june 2010

Top: The mountainous view from the dining room
terrace of The Delaire; Right: The soothing style
of a Delaire Suite

then three or four where you are more or less

inside, but I wanted to make sure neither one
was a secondary experience.”
Collins carried his diffused African authen-
ticity into the tasting lounge, where he couples
polished plaster walls, traditional riempie-style
chairs and a wooden-beamed ceiling, creating
a sumptuous spot to quaff the vineyard’s boun-
ty. Graff ’s contemporary art collection, featur-
ing works by some of South Africa’s finest
artists, William Kentridge, Robert Hodgins and
Sydney Kumalo, appears predominantly
throughout the estate and offsets the more classic elements of the the more arid rocky outcrops the further you go above sea level,” said
lounge like teak herringbone parquet floors and white linen curtains. Collins. “It was a challenging process to combine the elements which
“Part of the joy of drinking and sampling and assessing wine is the sit within the landscape.”
communication between the people you’re with and the person mak- The Banyan Tree Spa, with four treatment rooms and a sauna, fur-
ing the wine,” said Collins. “I am very much influenced by the 20th- thers the natural tones with bamboo ceilings, polished concrete
century African oceanic movement — something that happened in floors, end grain wood and creamy white plaster.
the 1920’s — you integrate a certain primitivism.” South African horticulturist Keith Kirsten was taken on board to
Although the award-winning winery reopened last summer, the design the surrounding gardens, utilizing indigenous flora and fauna
hotel and spa, designed by French architect Pierre Bories, was and sandstone sculptures from local artist Anton Smit to craft an
launched in May and features 10 secluded suites. With delicately exotic area for strolling.
slender wooden furnishings and fabrics in cream and beige hues, the “South Africa and the cape really is one of the last great driving
suites also serve as graceful spaces for additional pieces from Graff ’s destinations,” said Collins. “It’s a real pleasure to drive and see incred-
contemporary art collection. ible vista after vista. One of the reasons they call it ‘God country’ is
“My inspiration has been the colors and textures of this part of the you can travel in 20 minutes from a place that looks like a garden in
world which are a contrast between stone, earth and vineyards with Surrey, England into something that is raw Africa.”

boutique DESIGN may/june 2010 • 55

 W O R L D B Y D E S I G N

Left: Heath Nash; Right: Soccer bowl;

Bottom Left: Color badge; Bottom
Right: ‘It’s beautiful here!’ sign.

on it.’ And I do certainly have more

of a right to try and interpret my
country’s culture into an aesthetic
than Sven, so it was a really good point.
It was kind of a wake-up call to look at our
collective history and traditions and create my
own personal version (mythology) of what I think South Africa feels like,
but through a contemporary product or range.”
Five years after graduation, Nash met wire artist Richard
Mandongwe and developed a decidedly new voice with a new medium:
re-purposed plastic coupled with wire. Nash and Mandongwe soon
began to collaborate and created the collection, ‘Other People’s
Rubbish,’ crafted from hand-bent wire and re-purposed plastic bottles.
“No-one was really looking at product or design through the lens of
re-use here then, and the city had not even started to give any attention
to the idea and necessity of recycling,” said Nash. “Having heard about
the importance placed on separating and recycling overseas, I reckoned
it was a necessary thing to bring to the fore.”
Six months after meeting Mandongwe, Nash’s productivity and vis-
ibility in the field increased wildly; Nash registered his company and
eight months later, his production rate was so high, he began to out-
source and collaborate with a local recycling center (Footprints) which

Heath Nash gave way to a new company Poise, that Nash still works with today, col-
lecting, washing and cutting the plastic, creating myriad new opportu-
nities for jobs. While Nash has unfaltering faith in the prospect of cre-
Brings New Life to ating employment and ecological awareness through craft and re-use, he

South Africa remains realistic in the small but imperative role he plays.
“In the beginning it was an idea and an ideal, and the dream was the
‘selling point’ in a way, but now the thinking has proven itself to be a
with Crafted Materials potentially viable business plan,” he said. “Craft is a big part of the econ-
omy here, as is the small business; and loads of awareness has
been raised due to my work. Big companies are calling me to
see if I can use the waste they generate for new pur-

N
ative of Bulawayo, Zimbabwe, Heath Nash has set up
shop in South Africa and is revolutionizing the poses. It’s a very exciting field.” BD
nation’s aesthetic, offering a new vision and
viable new occupation with whimsical products crafted
from recycled “rubbish.”
Nash studied fine art at the University of Cape Town,
majoring in sculpture and experimenting with free paper
from city printers, bucking the status quo of more orthodox conceptions
of sculpture which are often conceived as a means of “immortalizing
something.” He developed a celebrated sense of “limitation,” self-
imposed rules in the creation of his work, explaining that it parallels the
YOU’LL FIND WILD AND EXCITING DESIGN INSPIRATION
situation in South Africa, echoing the tenacity and imagination neces- IN SOUTH AFRICA. HERE ARE A FEW IDEAS TO EXPLORE:
sary to overcome finite resources.
Despite a genuine desire to manifest South Africa’s essence, Nash HOTELS: PRODUCT DESIGNERS:
ran up against adversity when he first exhibited at the inaugural Design The Homestead 1010 Creative
Indaba Expo in 2004. International buyers told him his work wasn’t www.andbeyondafrica.com www.1010creative.com
“South African enough for the markets’ needs.” One and Only Resort Cape Town Pedersen + Lennard
“The thing was, the work I showed then was not even thinking about www.oneandonlycapetown.com www.pedersenlennard.co.za
that — I assumed that because I was African, and South African, my
The Twelve Apostles Hotel Design Afrika
work was too,” said Nash. “What one astute NYC journo said was, ‘If you www.12apostleshotel.com www.designafrika.co.za
don’t use your own culture as inspiration, Sven, from Sweden will. So get

56 • boutique DESIGN may/june 2010

August 27 – 31, 2010

Your Guide to
Style in August
Are you looking for new ideas in interior design or
giftware? Tendence in Frankfurt, Germany presents
the highlights of the international consumer goods
industry at the ideal time. Be inspired by creativity
and discover the direction trends will take with
“Personal Shopper”, “Talents”, “Next”, and concept
presentations.

For more information on Tendence and to register online visit

www.tendence.messefrankfurt.com
info@usa.messefrankfurt.com
Tel. 770.984.8016
 Aqueous
DREAMbook:
Bath & Spa

Transmission

A bathroom can provide a

most ultimate solace or an
institutional discomfort.
The difference between
feeling one or the other
can often be as simple as
changing a faucet here, a
toilet there. It can turn an
unwelcoming space into
one that “sells the place”
so-to-speak. Take some of
our ideas for new bath
products, but be careful
not to throw too many
styles into one washroom
for fear that guests may
not know whether to draw
a bath or pop a bottle. If
you really get it right, they
might do both. — KH

58 • boutique DESIGN may/june 2010

 Clodagh Touch27 for The Caledonia, Chelsea, New York Brooklyn Bridge, New York

From inspiration to completion in 16 weeks is what sets Watermark Designs’ true

manufacturing capabilities apart from any other fixture manufacturer. Clodagh Design
Studio teamed with Watermark ID to create the delightfully evocative Touch27 collection
for her spa bathrooms and kitchens. A sense of intimacy and calm was created through the
use of texture, satin finishes and environmentally friendly materials to express Clodagh’s
inspiration. Watermark Designs’ engineers were able to develop tooling and machining to
produce the unique chiseled and hammered Touch details onto solid brass handles and
accent pieces.

Want to differentiate your own projects? Contact Watermark ID and let us show you how we
can help you create your own signature mark.

Watermark Designs, Ltd. 350 Dewitt Avenue Brooklyn, New York 11207 718.257.2800 watermark-designs.com
DREAMbook:
bath & spa
4
1 Watermark Designs (page 58)
The Titanium line from Brooklyn-based
Watermark is available with two hydro-
progressive water control options which
control volume and temperature in one
motion. The Volume Reduction Aerator
allows the user to adjust flow rate directly
at the tip of the spout. Available at
www.watermark-designs.com
2 Beckwith Interiors
Crafted using ship-building techniques,
this walnut tub with maple detailing is
warm and cozy, with or without water.
It’s made with marine-grade epoxy to hold
the water temperature longer, and it’s
60 • boutique DESIGN may/june 2010
2
3
5
customizable to larger sizes so you
can soak with company. Available
at www.jamiebeckwith.com
3 Sicis North America
Yes, we too would like to slip one of these on
each foot and suit up with a little black dress.
(we girls, that is.) But alas, this shoe is made
(in Italy) for bathing — and a most indulgent
bath it makes. Available at www.sicis.it
4 Alessi
Does anyone else see that childhood
blow-up whale float everyone had — or
perhaps the next character to appear in
Mario Kart? Whatever you see in this toi-
let by Alessi, you’ll surely agree it looks
fun and inviting. Not typical for
6
a toilet. Available at www.alessi.com
5 Novellini
Shy shower-ers beware: this glass pillar
of modernism is not going to hide you
from onlookers. The sleek styling and
smooth lines of this Novellini shower
are more about a design showcase, but
give way to a you-showcase too, if you’d
like. Available at www.novellini.com
6 Teuco
The Feel Swarovski Bathtub is a bespoke,
artistically embellished tub by Fiona Winter-
Grasser, heiress of the famous Austrian
Swarovski family. Because why should you
have to take your jewellery off while bathing?
Available at www.teuco.com

10
7 Duravit
In Duravit’s second collaboration with
Phoenix Design and fittings manufacturer
Hansgrohe, the company has released this
freestanding tub which features a rim that
subtly reveals a shimmer of white LED
light. In case you prefer bathing in the dark
— which is not so uncommon after all.
Available at www.duravit.com
8 WS Bath Collections
The Piedra Orion tub, finished in travertine,
limestone and other possibilities combines
earthy and high-end tastes. If you find the
red travertine here a bit on the girly side, it
comes in yellow, beige, gold, white and
more. The nearly 2,000-pound lunker is
handmade and environmentally-friendly.
Available at www.wsbathcollections.com
11 CBD Glass Studios
9 Kohler
Kohler’s pitcher-like vitreous China spout
and sculpted, curved handle resemble
a drooping flower. Water slides down
the blue and white ceramic piece like
droplets off a lotus flower. Available
at www.kohler.com
12 THG USA
10 Rocky Mountain Hardware
Like a piece of molded gold leaf molded,
this basin, shipped with an integral grid
drain, will complement a Vegas bathroom
or a nightclub’s. Shown in silicon bronze,
light patina, this delicate piece is sturdier
DREAMbook:
bath & spa
11
12
than it may appear. Available at
www.rockymountainhardware.com
Luckily the design of this sink only looks
as if water will trickle away. Instead, the
Waterfall wall mount sink contains all the
wetness in its basin to ensure it’s only
your hands feeling the drip. Available at
www.cbdglass.com
Designed in a spirit reminiscent of a
French chateaux, the Marquise Art Deco
bathtub from THG has a hand-applied
pattern that’s integrated into the tub
itself so its lux splendor will never fade.
Available at www.thgusa.com BD
boutique DESIGN may/june 2010 • 61
 B AT H A N D S P A S E C T I O N
BY WANDA JANKOWSKI
Flo a t
BG S
t ud
A
lthough New York-based
BG Studio International
handles luxury commer-
cial and residential projects, it is
one of the few firms in the coun-
try that specializes in cruise ship
and maritime interiors. Co-
founders and principals, Hans
Galutera, MDIA, IIDA, SBID
62 • boutique DESIGN may/june 2010
d eas
in gI
io on Baths for “
and Francesca Bucci, AIA, PWC,
SBID, established the firm eight
years ago, and today maintain a
staff of 12 people to handle pres-
tigious projects such as the
design of public spaces on Royal
Caribbean’s Oasis of the Seas,
Celebrity Cruises’ Solstice and
the QE2 Hotel.
Interior design is a people
business, requiring collaboration
and the sharing of ideas between
the experts and the client. And
when it comes to designing a
cruise ship, collaboration is taken
to a whole new level.
“The process is different for
designing cruise ship interiors
than other types of spaces,” said
Galutera. “There are Steering
Committee meetings in which
Left: BG Studio International’s
co-founders and principals,
Hans Galutera and Francesca
Bucci; Top Right: Royal Caribbean’s
Oasis of the Seas includes a park
the size of a football field.
ls at S
ot e
B o u t iq u e H
you sit in a board
room with management
executives, hotel operations man-
agers, representatives from the
ship builders, as well as the
architects and designers involved
— about 50 professionals in all.
Each architect and designer pres-
ents his or her work in front of all
the others, so you see the level of
presentation from firms all over
the world. It allows us to improve
on our own presentations and
reflects the high standards set by
Royal Caribbean and Celebrity
Cruises.”
“There is also a great deal of
documentation involved in design-
ing ship interiors to keep track of
who specified what,” he said.
What is different about design-
ing bathrooms and other spaces
on board versus on land is the
need to adhere to a range of var-
ied regulations.
“We try to specify sustainable
materials, but are restricted by
ea”
International
Maritime Agency rules,”
said Galutera. “Materials must be
adaptable to or certified to with-
stand air and weather conditions
related to humidity and salt con-
tent, and satisfy fire and weight
requirements.” In addition, U.S.
Photo by Michel Verdure and courtesy of Royal Caribbean (ship)
Public Health regulations must be
observed.
In stateroom bathrooms, only
wall-mounted toilets can be
installed. Weight restrictions
may prevent extensive use of
some heavier materials, though
Galutera pointed out that there
is a honeycombed substrate avail-
able to which stone can be ad-
hered that lessens the weight of
installed tile.
“Since space is limited, cabins
usually do not include bathtubs,
except at the very high end,” said
Galutera. “You have to be creative
Check out these star line-ups
at the 2010 HD Expo in Las Vegas.
MTI WHIRLPOOLS will exhibit award-winning designs and innovative bath
products at this year’s HD Expo. The company’s product
range is extensive, with over 200 models of tubs, shower bases, frameless shower enclosures,
sinks and specialty products with a full range of options and hydrotherapy choices. MTI will be Akana Suite
showcasing their extraordinary Boutique Collection, an exclusive line of high-end, design-savvy
products for the bathroom including those designed by the very talented Matthew Quinn.
Seamless Elegance in Solid-Surface. The Akana Suite consists of a one-piece engineered solid-
surface tub and sink. The Akana tub is available as a soaker or air bath with optional Stereo H20®
integrated audio system. A coordinating sink can be specified in varying heights and with or
without a custom wall-mounted vanity for the ultimate in minimalist design.
Freestanding, Organic Design. The Elise soaking tub has a nature-inspired aura with its soft lines
and seamless design. Elise, like all Boutique Collection products, is made in the USA and constructed Elise Tub
using MTI’s “ESS” (Engineered Solid-Surface) material, a mixture of ground natural minerals and
binding agents that are liquefied, poured and then hardened. The result is molded stone, solid
through and through. Approximately 60% of the material is organic – a green alternative.
Luxury and Sophistication in Solid-Surface. The Intarcia is one of the newer models in a line of
exciting solid-surface products designed by Matthew Quinn, one of the nation’s leading experts
in bath design. Shown in gloss Raven with decorative inlays and optional pedestal base, Intarcia
can be specified as a soaking tub or air bath. A matching Intarcia lavatory
sink is also available.
SEE MTI AT HD EXPO BOOTH # BOOTH 3636
Intarcia Tub
www.mtiwhirlpools.com

SAMUELSON FURNITURE isof celebrating 75 years, and four generations,

manufacturing the highest quality furniture
with the launch of their New Generation of Chairs from THE STUDIO at Samuelson
Furniture. These new chairs are timeless expressions of style; classic, each sophisticated
and created with a legendary history that truly defines quality furniture. Started as a father-
and-son team with inspired dreams, Samuelson has grown to be powerhouse in the
industry offering quality furniture to the professional design community. No matter the
style, each and every piece has an inspired design and heirloom quality - a trademark of
the Samuelson Furniture brand.

Chic and sophisticated, the 7802 Chair from Samuelson Furniture features clean, flowing
lines, a hand-rubbed Tarnished Silver finish and luxurious comfort.

The 7803 Chair is inspired by the Art Nouveau period and modernist style, featuring flowing
organic lines and a sophisticated yet classic style ideal for a cocktail lounge, occasional or
7802 Chair restaurant seating.

Sculpted to perfection, the 7809 Chair features delicate, detailed carvings which accent
the otherwise contemporary form available with show wood or fully upholstered top.

The 7804 Chair celebrates Egyptian inspired style with an Art Deco twist. Curved arms,
detailed carvings and balanced geometric shapes highlight this chair, rich in character and
at home in both traditional and contemporary settings.
7809 Chair 7803 Chair 7804 Chair
SEE SAMUELSON FURNITURE AT HD EXPO BOOTH # BOOTH 2121
www.samuelsonfurniture.com
 B A T H & S P A

In spite of its sophisticated
technology, the sensor-
operated faucet isn’t
part of the fitting
mix. “The per-
ception is that
it is commercial and
not in keeping with a
high-end residential look, so
we don’t use it,” he said.
“The style of the interiors
depends on the brief we’re given
interior decorative details. factor in mind,” said Galutera.
Regardless of the style re- “People are there on vacation to
quired, BG Studio International’s have a good time. At the end of
design philosophy involves creat- the day, the environment has to
ing a sense of familiarity, harmony project a sense of happiness,
and well-being. well-being and comfort to be
“We always keep the human successful.” BD
Top Left: High-end staterooms aboard the Oasis of the Seas enjoy the lux-
ury of spacious bathrooms; Below: This luxury stateroom is filled with mate-
rials that satisfy air, water, weight and safety related maritime regulations.

Photo by Michel Verdure and courtesy of Royal Caribbean

in maximizing the
real estate. A lot of bath fixtures
are positioned in the corners.”
Regarding lighting, energy
efficient LED fixtures are gaining
in popularity. “The color used to
be too white and unnatural, but
now the technology has come a
long way in producing color tem-
peratures around 2,700 degrees
Kelvin,” said Galutera. “Some
cabins still have fluorescent fix-
tures in the vanity area. In high-
er-end cabins, however, halogen
or LED fixtures are used.”
for the branding of the ship as a
whole. Within that scope, most
of our designs are transitional
with some historical reference,
but not too minimalistic, so that
they maintain timelessness.”
A ship takes about four years
to complete. Since not just one,
but several are constructed at a
time, typically the cruise line
requires brand continuity in the
design elements from ship to
ship and also develops a story line
for each individual ship to distin-
guish it and provide unity for the
 to all the participants of
Hospitality Match 2010!
We look forward to seeing you again next year!
Register with a 10% deposit by 9/1/2010 and receive a 10% discount!
Stay Tuned for the date and location of Hospitality Match 2011!
Hospitality Match is produced by Boutique Media Group as a targeted one-to-one
match making event that brings key decision makers from major design firms,
purchasing companies, and hotel groups to you for a weekend of serious business
and exceptional networking events.
For more information please contact Michael Schneider at
914.923.0616 x14 or michael@boutiquemediagroup.com
hospitalitymatch.com
 H O S P I T A L I T Y M A T C H 2 0 1 0

Wild Animals and Serious Business at the Boulders Resort

ack Rabbits, iguanas and javelinas (aka

J mini-wild boars) were just a few of the feral guests we hosted at this
year’s Hospitality Match at the beautifully untamed Boulders Resort in aptly-named
Carefree, Arizona. The other wild animals (i.e. Match attendees — whichever name you
fancy) were crazy enough to line dance to country tunes and cause some mischief with a golf cart here
and there. But the real reason we all convened in Arizona was for the serious business that took place
on the two main days of the event, where high-profile designers met with some of the hospitality indus-
try’s most versatile and innovative manufacturers. Check them out in action. — KH
2

3 4 5 6

7 8 9 10 11

Top: Match 2010 attendees at the beautiful Boulders Resort in Carefree, AZ; 1. Brenda Locke, Faulkner+Locke; Debra Robinson, ADM
Associates; George Van Ess, Palecek; 2. Nestor Pineda, Phillips Collection; Adam Kubryk, Global Allies; Todd-Avery Lenahan, ABA Design
Studio; 3. Behaving on a golf cart, unlike some Match attendees — Jane Humzy, Jane Hamley Wells; Buddy McDowell, Design Directions
International; Bob Thomas, Signature Hospitality Carpets; 4. Ana Maria Martinez-Stumpo and Naomi Stroh, Pacific Hospitality Design;
Jessica Davenport, Boutique Media Group; Michael Schneider, Boutique Media Group; Aaron Mischel, Electric Mirror; Grace Mack, Puccini
Group; Jeff Higley, Smith Travel Research; Jon Johnston, Electric Mirror; 5. Jose Leal, Worldwide Draperies; Jennifer Termini, Koncept
Design Group; Chuck Greenspan, Worldwide Draperies; 6. Jim Hesterly, Hallmark Lighting and Margaret O’Neal, Focus Interior Contracting;
7. Brenda Amsberry, Ricca Newmark Design and Cheryl Heisterberg, DAC Hospitality; 8. Maggie Marbry, Marbry Purchasing International
and Andre Landon, EDI Architecture; 9. Michael Schneider and Kelly Hushin, Boutique Media Group; 10. Marisa Scinto, Marriott
International and Erin Gleason, Novo Arts; 11. Sally Faulkner, Faulkner+Locke; Mark Reigelman, Boutique Media Group staff; Cheri
Krogman, Oxford Hotel Group

66 • boutique DESIGN may/june 2010

 O F F B E A T S P A C E S

UXUS Fuses Logic and Art

for Garage Winery
turned Napa Trendsetter
B Y M A R C W E I N R E I C H

“B
rand Poetry,” the signature term coined by award winning
Amsterdam firm, UXUS Design, has become its innova-
tive approach to the art of renovation.
“We coined the phrase to stress the fusing of rational design solutions
with artistic sensibilities, showing our balance
between emotional connection and commercial Outside of Merus Winery
results,” said George Gottl, partner at UXUS. Late
last year the firm added Napa Valley’s rustic and high- Main tasting room
ly exclusive boutique Merus Winery to its already
diverse portfolio which includes McDonald’s, “Essentially, it’s a showroom, a retail opportuni-
Heineken, and Levi Strauss, and worked its brand ty to an extent, and a hospitality venue of sorts,”
poetry scheme into the project’s design. said Michell. “Adding Merus gives us a new
“The colors and rich textures of our design are dimension in both spaces, one that reflects the fus-
symbolic of Merus’ black wine bottle and blood- ing of rustic heritage with modern sophistication.”
red wine,” Gottl said. “Their wine always reflected Merus, which is Latin for “unmixed” or
a sophisticated yet traditional approach to wine- “pure,” was created by Erika Gottl, George’s sis-
making, and now we’re bringing a design of the ter, and Mark Herold in 1998 in their two-car
winery that reflects this approach.” garage on the outskirts of Napa. They sold it in
Gottl and Oliver Michell, co-creative directors 2007 to William Foley, billionaire wine collector
and partners at UXUS, employed their artistic solu- and owner of numerous wineries purchased
tions to commercial needs to design Merus with the same warm hues under his Foley Family Estates and within months transformed it into
and saturated textures evident in the company’s wine and packaging. the 1891 Rossini Ghost Winery, which UXUS has now re-imagined.
The result is a pastoral but trendsetting winery that marries wine with “We wanted each room to be unique yet retain that ‘old-meets-new’
interior design, fashionable vistas with historic vineyards, and under- vision of Merus Wines,” Gottl said. “The wine in the glass may not
ground caves that open into spacious tasting rooms; a true “brand change from room to room, but the interior design of each room will show
poetry” that pays equal tribute to grassroots wine production and bour- that where you stand could affect the taste and overall wine experience.”
geoisie wine-tasting. The Main Tasting Room is lit with Niche Modern pendant-bulbs
with gray and amber hues resembling the colors in a glass of wine.
Cave events space
Granite countertops run parallel to a centrally located reflective black
hickory table, separating the main tasting area from the alcove of mod-
ish black leather couches. Black stools shaped like chess pieces are
scattered throughout the floor.
“There’s a hint of tribal influence in the stools,” Michell said.
“Each room emanates from a mixture of time periods that help
advance the identity of Merus as both traditional and trendsetting.”
The Cave Events Space is the largest of the three rooms, assuming
a dramatic ambiance with Foscarini chandeliers that illuminate the
warm scarlet cave walls. “Since there’s no natural light in the caves, arti-
ficial lighting allowed for customizable dramatic effects,” Gottl said.
The Cave Tasting Table is in the smallest of the three rooms. Tom
Dixon lighting-fixtures hang like wires from the cave’s ceiling, giving
light to a blackboard that circulates throughout the perimeter of the
cave and features notes about wine samples. BD

68 • boutique DESIGN may/june 2010

No matter what color of carpet
you choose from Woolshire,
they are all — GREEN.*

Woolshire Carpet Mills X 1275 Mauldin Road X Calhoun, GA 30701

800.799.6657 X www.woolshire.com

*All Woolshire carpets are made of New Zealand wool, a renewable natural resource.

May
12-15 International Window
Covering Expo Vision 10
Georgia World Congress Center
Atlanta, GA
www.wf-vision.com/expo.aspx
This interior design trade show
features more than 250 exhibitors,
seminars and full-size completed
window treatments, focusing on a
wide variety of design professionals
from suppliers to designers.
15-18 International Contemporary
Furniture Fair
Jacob. K. Javits Convention Center
New York, New York
Contact: www.icff.com
An international show for designers
with more than 600 innovative
exhibitors, now in its 22nd year.
18 HD Green Day
Sands Expo and Convention Center
Las Vegas, NV
Contact: www.hospitalitydesign.com
This is a day filled with sessions
showing the designs create and
implemented using green technology.
Participation provides 5 accredited
hours on sustainable design.
Calendar
19-21 HD Expo
Sands Convention Center
Las Vegas, NV
Contact: www.hdexpo.com
HD 2010 is the resource for
new products and services and a
connection with the wider hospitality
community. HD Expo features a show
floor with more than 900 exhibitors
covering an array of manufacturers
and artisans of hospitality
products and services.
20 The Boutique 18 Bash
TBA
Las Vegas, NV
Contact: Michael Schneider
Email:Michael@boutiquemediagroup.com
Tel: (914) 923 0616 x14
Boutique Media Group
This annual, invitation only event
celebrates and brings together the
Boutique 18 of this year, honoring
up and coming design stars.
19-23 Evteks — Istanbul Home Textiles
Exhibition
CNR Expo Center
Istanbul, Turkey
Contact:
www.cnrexpo.com/tr_index.asp
The 11th annual Evteks Exhibition
will bring together key decision makers
in the world home textile industry
with participation from more than
20 different countries.
June
3-7 Furnex Egypt
Cairo International Convention Center
Cairo, Egypt
Contact: info@expolink.org.eg
www.furnexegypt.com
Furnex 2010 is a unique opportunity
to discover Egypt as a sourcing
destination for furniture. At Furnex
2010, you will witness the Egyptian
furniture exporters’ understanding of
different markets which is expressed
in the continuous expansion in
product development and design,
skilled labor training, as well as
state-of-the-art machinery acquisition.
6-10 Showtime
Market Square
Textile Tower
High Point, North Carolina
Contact: Catherine Morsell
Tel: 336.885.6842
www.itma-showtime.com
At Showtime, the world’s leading
producers of decorative coverings
take over High Point, N.C. to
introduce their latest products
to the industry.
8-10 Licensing International Expo
Mandalay Bay Convention Center
Las Vegas, Nevada
Contact: 212.951.6612
www.licensingexpo.com
Attendees get a preview of the
newest licensing and merchandising
programs that will generate
excitement and buying behavior
among consumers.
Advertisers’ Index
Page # Advertiser
39 . . . . .American Leather
47 . . . . .Aqua Hospitality
6-7 . . . .boutique DESIGN New York
2-3 . . . .Blue Leaf Hospitality
35 . . . . .Brintons
17 . . . . .Carnegie
67 . . . . .CF Kent
19 . . . . .DAC Hospitality
70 . . . . .DEX
18 . . . . .D’Style
13 . . . . .Durkan
20-21 . .Ellington Fans
41 . . . . .Electric Mirror
5 . . . . . .Fabricut
71 . . . . .Global Allies
45 . . . . .Gloster
70 • boutique DESIGN may/june 2010
14-16 Neocon
The Merchandise Mart
Chicago, Illinois
Contact: Kari O’Shea
Tel: 312.527.7600
www.neocon.com
At NeoCon World’s Trade Fair,
discover thousands of innovative
products and resources for corporate,
hospitality, healthcare, retail, govern-
ment, institutional and residential
interiors from more than 700
showrooms and exhibitors.
11-16 ASID National Conference
Fairmont Chicago Millennium Park
Chicago, Illinois
Tel: 202.546.3480
www.asid.org
ASID has partnered with the
NeoCon family to create exclusive
educational programming, networking
events and experiential learning,
enhancing your NeoCon experience.
July
14-21 Atlanta International Gift
and Home Furnishings Market
AmericasMart
Atlanta, Georgia
Contact: 404.220.2435
www.americasmart.com
AmericasMart Atlanta is an order-
writing facility, and is the largest perma-
nent wholesale marketplace of its kind.
August
2-6 Las Vegas Gift Home Show
World Market Center
Las Vegas, Nevada
Contact: 702.599.9621
www.lasvegasmarket.com
Page # Advertiser
43 . . . . .Hallmark Lighting
49 . . . . .HG Art & Framing
65 . . . . .Hospitality MATCH
31 . . . . .Hospitality Design
72 . . . . .Kravet
15 . . . . .Majestic Mirror
23 . . . . .Messe Frankfurt HTFSE
57 . . . . .Messe Frankfurt Tendence
64 . . . . .NEWH
53 . . . . .Northwest
9 . . . . . .Royal Custom Designs
63 . . . . .Samuelson/MTI
25 . . . . .UTT
11 . . . . .Valley Forge
59 . . . . .Watermark
69 . . . . .Woolshire Carpets
 Designed for Hotels...
Not for a Photo Shoot.

Scan to win a free gift:

No other chair is up to the task™
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Patented & Available Exclusively from Global Allies
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+1.415.453.6041
Come Visit Us at HD Expo, Booth 3811
© 2010 | Global Allies, LLC | All rights reserved
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