In August, I had the chance to visit the Miller House and Garden in Columbus, Indiana, a phenomenal modernist residence completed in 1957. It was realized by talented individuals from allied disciplines: architect Eero Saarinen (with Kevin Roche as the project lead within the office), interior designer Alexander Girard, and landscape architect Dan Kiley. Inside, visitors quickly perceive the boundary between architecture and interiors. The architects drafted a pinwheeling, nine-square plan that updates ideas from Palladio and Mies, while Girard warms the stark, white space with colorful furniture, cabinets, rugs, upholstery, pillows, art, objects, and the Millers’ personal effects. The contrast is intense and brilliant.
Such genius clashing seems less possible today, in a moment when design culture appears to be valorizing the seamless integration of architecture and interiors, a merger that parallels the larger economic trend of conglomeration. The dissolution of the disciplinary divide between the two fields is actually a good thing, as it removes a type of mid-20th-century division of labor that was sexist: Men did architecture, and women did interiors. The unification also acknowledges the common goal of making spaces that are functional, healthy, and beautiful, a trend that reaches back to the proto- and early-modern idea of creating a total design environment—a Gesamtkunstwerk—in which all aspects of inhabitation are considered. The effort summons the text of a Bruce Mau poster from 1997: “The blurring of our boundaries suggests the shape of a new terrain.”
Lately, what matters most is one’s attitude and approach. For example: Was it a problem that Sala Hars had never designed a healthcare facility prior to winning the competition for Zoī Vendôme? Not really.
What unites AN Interior’s annual Top 50 list is precisely the ability to bridge the (artificial) gap between architecture and interiors in order to deliver impactful spaces. The concerns of these 50 offices extend “up” into furniture and art, but also “down” into the realities of construction and labor. Our layout, with a design by Studio Loutsis that began from folded paper, shares the faces of these Top 50 awardees.
The goal? To celebrate the people behind the projects. Elsewhere, this issue of AN Interior gets into the weeds of things to emphasize how collaborative design actually is: Three out of the four featured projects are within existing buildings, and the fourth, a ski lodge by Davies Toews Architecture, was shaped by a concern for the area’s birds; Emiliano López Mónica Rivera Arquitectos worked closely with artisans to finish a handsome vacation home; and hotelier Carlos Couturier of Grupo Habita meets writer Suleman Anaya at Condesa DF to discuss his support of Mexico’s leading architects. Plus our cover comes from a live/work project on a tight budget by Atienza Maure that largely consists of prefabricated components assembled by its client.
Ecological concern transcends price point: Vincent Van Duysen mentions it driving the design of a new luxury development in Portugal, while Cordero Pardee delivers a low-carbon retrofit for a dive bar in Ridgewood, Queens.
AN Interior aims to be a resource for working designers. So, here’s a deep dive: Uncover new furniture releases, take note of a recommended set of design stores in New York and beyond, and check out a quartet of emerging furniture makers.
Our print magazine is one component of our larger platform that serves our North American design community. We also facilitate togetherness through online coverage, virtual events, and in-person gatherings, all in the spirit of supporting and inspiring our audience. In these troubling times, care is essential. See you out there.
→ Continue reading at The Architect's Newspaper
