Shape Your Floor with De Stijl

Sarah Pelham

There are times when I’ll see a so-called “new” trend and think to myself, “That’s a derivative from another time—slightly morphed into a fresh idea.” Some of these “new” ideas are inspired by a great artistic movement like Bauhaus. Other trends have no origin and, frankly, we hope they never come out of retirement. Like the velveteen recliner. Who thought that was a good idea?

But as I looked back at historical design movements, one style struck a chord in relation to Interface Hospitality’s product dimensions—De Stijl. Dutch for “the style,” De Stijl was popular from 1917-1931 and was built on the geometric principle of straight lines, squares and rectangles. The simplified visual compositions included vertical and horizontal directions of planes and the designs used only primary colors along with black and white. You’re likely to see this common theme repeated in everything from formal gardens to architecture to later paintings by Mondrian.

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The geometric principle of straight lines, squares and rectangles is found in formal gardens, architecture and paintings by Mondrian.

Aspects of the De Stijl influence on architecture remained long after 1931. Mies van der Rohe evidenced its influence in his design of the Barcelona Pavilion with free walls that separated spaces asymmetrically. Another example is Frank Lloyd Wright’s Falling Water, which limited itself to the use of rectangular shapes with regular groupings and intersections of the planes. However, the only structure completely true to the De Stijl movement is The Schroder House, which was designed by Gerrit Rietveld from 1923-1924 and is still in existence in the Netherlands.

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Pictured left to right: Barcelona Pavilion, Falling Water, The Schroder House

So how does this relate to Interface Hospitality? Specifically carpet tile? Although our products vary in color, pattern and texture, they completely align when it comes to shape. We’ve developed a collection of square and rectangular products that work together as building blocks that allow you to create your own floor using a combination of sizes. Four distinctive shapes mold our collection: the 50cm square, the 1m square, the 25cm x 1m skinny plank and the 50cm x 1m plank. The sizes work together mathematically, which makes designing floors extremely easy. With this vast number of components, you have endless design options to create your own, one of a kind installation. And if you have an odd shaped floorplan, a combination of carpet tile sizes can produce a more economical installation. Meet some of the players below.

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Products left to right: Lofty M0968 1m x 1m, Hip Over History M0938 1m x 1m, Hip Over History M0938 50cm x 1m, HN850 25cm x 1m, B602 50cm x 50cm, UR101 50cm x 50cm, UR103 50cm x 50cm

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Composed floor using seven products featured above

Feel free to play with these building blocks; mix textures, patterns, colors and sizes. If you like to go outside of your typical boundaries and “color outside the lines,” go for it by installing a rug that is free floating in form, texture and color. Use our TacTiles® glue-free installation system to create a floating floor mosaic that offers high performance for heavy public space traffic with virtually zero VOCs.

Be a trend setter. Apply your own twist on the De Stijl movement and design a floor with the interactive Floors tool at interfacehospitality.com.

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Living Cully – Building a Park & a Lasting Legacy

Joanna Gangi

Creating a healthy, safe and vibrant community starts with dedicated residents who are committed to lasting change. The Cully neighborhood in Northeast Portland is rich with culture and diversity, yet it is one of the most underserved communities in Portland.

In a city where there is a plethora of parks and ample green space, the Cully neighborhood severely lacks access to this basic service. A team lead by Verde has been working to bridge this environmental justice gap and bring a much-needed park to the community with the Let Us Build Cully Park coalition. Once complete, the Thomas Cully Park will include a community garden and a safe place for children and adults to play and enjoy.

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Recently, the International Living Future Institute and founding sponsor Interface launched the first Legacy Project and teamed up with Verde* to transform a run-down public right-of-way into a safe, beautiful and refreshing green space. The Cully Adopt-a-Spot plot sits adjacent to the Thomas Cully Park and helps frame the park’s entrance to be an accessible area for residents to enjoy. The Legacy Project team worked with the Cully neighborhood residents over the course of four months to make this transformation possible. The process included three public workshops with the largely Spanish-speaking community to listen to their concerns, develop ideas together and design lasting solutions. Many of the residents expressed their desire to make this a safe and enjoyable walking path, as it is a highly utilized area and borders a busy roadway. The community modeled their vision for the space, and the passion was contagious to the design team as they included the residents’ ideas to the composition of the space.

The collaborative planning process culminated on May 24, when members of Verde, Interface, The Institute, Cully residents and volunteers rolled up their sleeves and spent the day planting and building the Cully Adopt-a-Spot. Interface was integral in the process by sponsoring the event and will continue to sponsor the project through completion. Dozens of shrubs and trees were planted in the ground. A walkway was constructed through the middle of the space to provide a safe and accessible avenue to local businesses. And a wall was built to border the busy roadway. All of the materials used were compliant with the Living Building Challenge materials Red List, which helped inspire the design team to seek certification, making it the second park ever to attempt the Living Building Challenge.

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Neighborhood families and children of all ages participated in the work party and were very excited to see the space transforming before their eyes. Children were enthusiastic to take part as they dug, filled wheelbarrows and watered the new shrubs. One child said, “This is like a work party, work isn’t fun but this is fun!” Another child stated, “I never came here before; it was gross and there were people here that we didn’t want to be around. It was scary and now it is so pretty!” Numerous people honked their horns in support as they drove by— showing that this not only effects the Cully residents but also effects people who would have never thought to look at this site before. It seemed that everyone involved, from young to old, knew the importance of investing in a community that lacks certain services like access to nature. As the walkway began to take shape, the newly formed pocket park portrayed a positive sense of community in the Cully neighborhood. The residents were all committed to making their home beautiful. And working together really proved that transformation is possible with a community-led effort.

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What was once an overgrown lot filled with weeds is now a beautiful, well-lit pathway, complete with a curving steel graphic wall and colorful landscape design filled with plants. The Cully community is a shining example of dedicated residents who care for their neighborhood and are committed to growing a healthy and vibrant community. The engagement of all involved parties is a testament to the potential for seemingly small community initiatives to serve as a catalyst for positive change.

*Verde is a Portland-based non-profit that serves communities by building environmental wealth through Social Enterprise, Outreach and Advocacy.

Author Joanna Gangi is empowered by the fantastic beauty of nature residing in Seattle where she works at the International Living Future Institute as the Editorial Director of Trim Tab.

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Mind the Gap

Julie Hiromoto

Continuing our series on the intersection of beauty and sustainability, Julie Hiromoto of Skidmore, Owings & Merrill reflects on her retreat with Interface and fellow architects when these thought leaders discussed how to close the gap between sustainable design and beautiful design. This is the second blog in the series.

In March, Interface, working with Nadav Malin of BuildingGreen, invited a group of architects from small and large practices across the U.S. to warm and sunny San Diego. Our task was to explore the question of why green buildings are not usually considered beautiful, and conversely, why the sexiest buildings are often not very sustainable. What is good green design and why isn’t there more of it? Unlike a typical conference center, our meeting room was enclosed on two sides with floor to ceiling windows facing the water, with a covered boardwalk as breakout space. While we talked, the sky changed colors, and the sun beckoned us outside after a long and relentless winter. Our hotel was located on a private, man-made island, landscaped to resemble a lush Southeast Asian paradise. Despite the irony of it all, or perhaps because of it, the discussions were lively, and we powered through the two and a half days. What an appropriate location to tease out our collective thoughts on this complex topic, as we earnestly worked together to close the gap.

As designers, we craft a vision for the environments in which we live, work, and play. Good design is mindful of the sensory experience in and around these spaces, whether visual, aural, or tactile; old or new; high tech or natural. The decisions we make range from broad sweeping concepts to minute details. We specify products that are included in systems that, in turn, complement other systems. They serve a particular use and group of people in a particular environment. Our intentions are constrained by time, cost, codes and other feasibility questions. On each project, these choices are based on our own values, those of the client, and the communities the project will serve. Our success depends on aligning the project goals with these values.

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Green must be a part of good design. As architects, we have a responsibility for the health and well-being of building occupants, the community and the environment. Greater energy and water efficiency requirements are making their way into building codes and design criteria. Owners are gaining awareness of financial incentives and savings. Health concerns are gaining traction as architects advocate for product transparency through grass roots initiatives like the Health Product Declaration or more established advocacy and education through the AIA’s Design & Health Leadership Group. But along the way, in our scientific pursuit to validate high performance design strategies, did we lose sight of beauty? Are we mired in the myriad charts, graphs, facts and figures used to justify and validate our ideas? Will we have better results realizing our sustainable strategies if instead we promote beautifully integrated solutions with narrative?

How do you define beauty? Countless philosophical and scientific treaties have been written on this topic, but design sensibility is difficult to validate. Beauty, pleasure, and inspiration are subjective; to one person a space may be ideal, to others it may fall short, but aesthetics cannot be cast aside as a frivolous amenity. This is the soul and life-blood of our work. The delight and experience of a space causes us to linger or smile. A unique sense of place makes a building special and memorable. These feelings motivate us to maintain and restore our homes, workplaces, community centers, schools and cultural spaces. The longevity of our architecture is the real lasting sustainable impact of the watts/square foot and liters/day savings. Even if technical advances help us achieve better performance metrics, demonstrated improvements in the buildings we construct and cherish today will build a foundation for further advancement in the next projects. Rome wasn’t built in a day, but it’s still there!

Editor’s note: This blog was originally written before the Living Future unConference in May when the definition of design values continued with an interactive discussion between Julie, Joann Gonchar (Architectural Record), Nadav Malin (BuildingGreen), and Susan S. Szenasy (Metropolis) on the topic of Connecting the Dots: Beauty, Sustainability, and the Occupant Experience. It was held for publishing to be included with our blog series on the intersection of beauty and sustainability.

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The Intersection of Beauty and Sustainability: Twitter Chat Recap

To kick off our latest blog series on the intersection of beauty and sustainability, design and sustainability gurus Lance Hosey of RTKL Associates and Julie Hiromoto of Skidmore, Owings & Merrill joined our own Vicki deVuono, VP of Creative, and Lindsay James, VP of Restorative Enterprise, in a live Twitter chat. What unfolded was a thought provoking discussion in bite-sized nuggets – 140 characters or less, of course.

@Julie_Hiromoto began the chat by addressing the balance of sustainability and beauty. She tweeted:

  • Design excellence has always been a part of our practice, our ethos.
  • As a Designer you must always remain true to aesthetics.
  • We work to integrate green building performance criteria within the design intent. Sometimes this is a challenge.

The conversation later evolved to address the core concept of Interface’s Human Nature collection – the belief that where we create inspires what we create. @LanceHosey chimed in to answer the question: Should designers focus on the mental, emotional and physiological impact end users experience vs. their own style?

  • Designers often design exclusively for vision, not for the other senses.
  • Architects aren’t trained in visual literacy. Courses such color theory aren’t required in most design schools.
  • We think of great design as art, not science or something that results from diligent study.
  • The more we learn about the mathematics of attraction, the mechanics of affection, the better design can become.

The chat concluded with a discussion on biophilic design. Lance cited examples of historical buildings that employed biophilic principles, and Julie closed the discussion with the following question regarding implementation of green building practices:

  • How can we encourage our industry to continue striving towards these goals by positively encouraging all progress?

Find the entire chat, including all questions and responses, by searching #IFinHumanNature and scrolling to the tweets posted on July 10.

Lance and Julie, along with other sustainability leaders, will continue this discussion over the next few weeks. Stay tuned for more!

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Trend Spotting with Gretchen Wagner

Gretchen Wagner

This year has been filled with unexpected jet setting adventures to review design shows and I’m finally hitting my stride in knowing what to look for while on the prowl. The fundamental part of trend spotting is understanding why certain materials and concepts are being explored by more than one company at the same time. Isolated design may be unique and thrilling but it lacks context, and context is all the rage. These similarities give light to overarching themes in product design that reflect the needs and attitudes of the consumer. I like to walk into showrooms expecting the unexpected, and when I find it, I know in an instant that this is what is most special. Here are some of the trends that I found to be most special at ICFF and NeoCon this year.

Poppy, Mandarin, Sundried Tomato. Whatever you want to call it, it’s on the border of red and orange and this color has been all over the fashion industry this year. Everyone is catching onto this gorgeous hue that seems to compliment everything from matte finished woods to lustrous copper and back again. I’ve included a few of my favorite examples of this fluorescent color in action from this season.

Flat materials being converted into three dimensional form through different types of manipulations, including cutting, pleating and folding. Beautiful flat cutouts have been popular with new advances in precise laser cutting and etching, but the evolution to three dimensional objects is deriving from 3-D printers. Creative solutions for making three dimensional forms from two dimensional raw materials are exploding into a world of their own through decorative yet functional objects.

Many companies are being inspired by the Americana and Folk resurgence amongst local artisans and makers. Uniquely niche products are becoming main players as companies such as Maharam and Anthropologie bring these hand crafted goods to market while still retaining a boutique-like experience. Artists are also working alongside larger brands to create collaborative product launches, such as Bernhardt’s recent project where they applied beautifully hand rendered patterns to their jacquard technology.

Texture is everything, and throughout showrooms there was a return to sensory based elements. Including our own Interface experiential space, companies incorporated different textures that invited guests and customers to feel their way through the environment. Stemming from our constant experience within our virtual world, we were asked to awaken the mind through the sensory experience of touch. A beautiful reminder to look up from our screens and live in the reality that is all around us.

Both ICFF and NeoCon were excellent design shows to attend for spotting the new and upcoming trends in May and June. See you next year!

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Posted in Category Design Inspirations, NeoCon 2014 | Leave a comment