Profiles Archives | Designlines Magazine https://www.designlinesmagazine.com/category/profiles/ Toronto's Ultimate Guide to Design Fri, 18 Oct 2024 18:53:25 +0000 en-US hourly 1 https://wordpress.org/?v=6.5.5 Design Studio Ette Puts Down New Roots https://www.designlinesmagazine.com/studio-ette/ Tue, 15 Oct 2024 16:13:30 +0000 https://www.designlinesmagazine.com/?p=85967 Led by Kate Richard, the formerly Vancouver-based furniture and interiors studio is setting up shop in Toronto Material-driven. Research-based. Intimate. This is how designer Kate Richard, founder of studio Ette describes her emerging practice. After studying industrial design at Emily Carr University in Vancouver, she cut her teeth at local interior design studio Ste. Marie […]

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Led by Kate Richard, the formerly Vancouver-based furniture and interiors studio is setting up shop in Toronto

Material-driven. Research-based. Intimate. This is how designer Kate Richard, founder of studio Ette describes her emerging practice. After studying industrial design at Emily Carr University in Vancouver, she cut her teeth at local interior design studio Ste. Marie and architecture firm Campos Studio. But she kept returning to her love of furniture, making pieces for herself or custom commissions on the side. “I was really interested in domestic space and what it means to live at home and our relationships with objects,” she explains.

Chair and furniture design
Chair and furniture design

Ette’s Algae-stained stool.

It was through her personal projects that she first began to hone her design approach: “I think materials can really speak for themselves, and I’m trying to them do their job instead of following a trend or making work that’s inspired by things that I see,” she says. “I try to become inspired by books or art or theory rather than visual things. I feel like we’re very overstimulated that way.”

When she’s not experimenting, whether staining chairs with algae or creating short films of her work, Richard primarily focuses on residential interiors. She got her first project—a Vancouver loft in Gastown—through word of mouth. The client came to her with a desire to warm up the cold industrial space with wood but also gave her a lot of freedom. With custom millwork and an eclectic assortment of furnishings (many designed by Richard herself), the resulting space is a testament to Ette’s collaborative, client-focused design process, which is partly a response to what she felt was missing in the market.

Woodwork, Toronto Design

The Noon showroom—design for a friends jewellery business. Photo courtesy of Chloë Van Tighem.

Studio Ette

Interiors of Soe Cafe in Penticton, British Columbia.

Studio Ette design

Ette’s untitled floor lamp is composed of material sourced from an auto part fabricators specializing in custom materials for race cars.

“In Vancouver, I noticed that architects would do the exterior and then also take on the interior, and it became this less important aspect. It’s obviously considered, but I found that a lot of them started to look the same—it was just these modern looking spaces that felt like they had no life to them,” she recalls. “So, I became interested in working with people on residential spaces, to take more time with clients and make that a really intimate process to create their own unique space.”

After a few more projects, she decided to turn her side hustle into a full-time gig. Though she’s hired people on a contract basis during busy periods, for the most part, Ette is a one woman show. Residential design remains her main interest, but she’s also completed a handful of commercial projects including a jewelry showroom in Vancouver and a Japanese-inspired café and wine bar in Okanagan. “The larger scale interiors are more informed by creating an atmosphere for the client, but I think my personal research probably subconsciously informs those projects as well. It ends up being an interesting balance,” she says.

Furniture - side table
Furniture - side table

The Butterfly stool by Ette is made of solid mahogany and finished with a gentle beeswax.

In August, the designer embarked on a new chapter, relocating her practice to Toronto. While she takes some time to get situated in the local design scene—and prepare for DesignTO, where she’ll show some of her latest pieces—she’s working on decorating her own home (she just designed the bed frame and dining table). “I’m trying to create a bit of a sanctuary,” she explains. “I live on a very busy street, and when I leave the house, it feels really chaotic and there’s people everywhere. When I come home, it’s nice to be able to be in a completely different environment.”

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Shayla Bond Merges Heirloom Craftsmanship With Modern Design https://www.designlinesmagazine.com/shayla-bond/ Mon, 26 Aug 2024 15:57:37 +0000 https://www.designlinesmagazine.com/?p=84437 The artist and founder of ESBE Studio talks past inspirations, her creative process, and the future of quilts Growing up in Nova Scotia, Shayla Bond honed her artistry and sewing skills under the guidance of her creative craftswoman mother. A decade after earning her Bachelor of Fine Arts in Fashion and Textiles from NSCAD University, […]

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The artist and founder of ESBE Studio talks past inspirations, her creative process, and the future of quilts

Growing up in Nova Scotia, Shayla Bond honed her artistry and sewing skills under the guidance of her creative craftswoman mother. A decade after earning her Bachelor of Fine Arts in Fashion and Textiles from NSCAD University, she launched ESBE Studio—keen to draw on her experiences in fashion and marketing. Today, Bond brings to life a modern take on the classic heirloom quilt as she explores her calling to work with textiles.

Shayla Bond quilt art
Shayla Bond quilt art

Through an interior design lens, Bond reimagines quilts as practical, timeless pieces for the home.

“I envision ESBE as a brand that positions quilts next to those in the home design space,” she shares. Currently working with a range of interior designers, Bond is already seeing a shift in quilt’s identity: “Designers often tell me that it doesn’t feel like they’re commissioning just a quilt, but rather an art piece.”

Now based in Toronto, where a quilt-art scene is quickly emerging—Bond divides her time between ESBE and creating fibre-based fine art, as she envisions how quilts can move from surface to surface. Finding true fulfillment in her craft, she shares that she remains faithful to methods like sketching on graph paper, fabric piecing, top-quilting, and working with batting. Crafting exclusively with linen, her process reflects a strong commitment to sustainability, from choosing cotton threads over polyester to sourcing organic materials whenever possible.

In her latest works, you’ll find geometric shapes and colours come together in perfect harmony. “I love repeat, colour, space, and precision, which works well with quilting,” she explains, “balancing the familiar with the unknown is what I aim for, and invoking that emotional response.”

For her framed fine art, Bond uses numeric input to create pixelated compositions. From there, she carefully selects colours to match the target aesthetic.

product design
product design

Bond’s cushion details present beautifully on a cherry wood bench.

Throughout her journey as an artist, Bond bridges the gap between her craft and her art. From traditional methods used for ESBE to a digital approach in her fine art, her work emanates the deep sense of nostalgia that she feels.

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NEO Architecture: A Commitment to Modernist Design https://www.designlinesmagazine.com/neo-architecture/ Mon, 15 Jul 2024 13:40:50 +0000 https://www.designlinesmagazine.com/?p=83520 Meet the architecture firm bringing high design to the Kitchener-Waterloo region Upon entering NEO Architecture’s website, visitors are greeted with the bold and captivating slogan: “Make it Stand Out.” It’s a simple but telling motto that represents the philosophy of the Kitchener-Waterloo-based design practice in more ways than one. Founded by Laird Robertson, NEO is […]

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Meet the architecture firm bringing high design to the Kitchener-Waterloo region

Upon entering NEO Architecture’s website, visitors are greeted with the bold and captivating slogan: “Make it Stand Out.” It’s a simple but telling motto that represents the philosophy of the Kitchener-Waterloo-based design practice in more ways than one. Founded by Laird Robertson, NEO is a leading name in today’s modernist design scene known for its commitment to high-quality architecture and close client collaboration.

Robertson’s journey began over 27 years ago when he joined an architectural practice in KW, which later became Robertson Simmons. However, his vision for high design and personalized client engagement led to the creation of NEO Architecture—a name inspired by a study identifying a group of consumers seeking exceptional, high design experiences. “The study concluded that there are essentially two types of consumers,” explains Robertson. “One called the traditionalists, who seek out quantity—a lot for a little. And one who seeks out the bespoke and the extraordinary. They called them the NEOs.”

Wedge House, Kitchener
Wedge House, Kitchener

Wedge House is located on York Street in Kitchener.

NEO Architecture’s projects are characterized by unique designs and a collaborative approach. Robertson emphasizes the importance of working closely with well-informed clients who are invested in the design process. “The greatest projects are true collaborations,” says Robertson. “Clients need to be well-informed and have a clear vision.”

A standout project by NEO Architecture is the Wedge House, a triangular-planned house on a triangular lot. This three-story house, with its white box modernist design, exemplifies the firm’s ability to push architectural boundaries while maintaining strong client collaboration. The Wedge House has received recognition for its architectural excellence, winning an Urban Design Excellence Award from the City of Kitchener.

A full-scale model of the entire site was extended to the allowed maximum height. From this, various recesses were subtracted to meet regulatory standards and enhance the building’s interaction with its environment. The resulting structure is a custom architectural sculpture that now occupies the site. Its exterior finish and intricate details are purposefully modest, emphasizing rather than overshadowing this distinctive sculptural element.

Interiors of wedge house
Interiors of wedge house

Inside the dwelling, Wedge House’s interior scheme allows for optimal space utilization.

NEO Architecture’s portfolio includes a diverse range of projects, from single-family residences to university buildings and community centres. This versatility demonstrates the firm’s ability to innovate across different architectural landscapes. Robertson acknowledges the vibrant and innovative environment of the KW region, nurtured by institutions like the University of Waterloo and Wilfrid Laurier University. “This spirit of innovation is inherent to who we are,” he says.

The firm’s success is also rooted in its modernist philosophy. Robertson’s dedication to modernist principles, inspired by his studies and admiration for Le Corbusier, is evident in the firm’s designs. This modernist vision, combined with a commitment to high-quality design and close client collaboration, has positioned NEO Architecture as a leader in the field.

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Nishi Bassi Talks ‘80s Exhibition at Bata Shoe Museum https://www.designlinesmagazine.com/nishi-bassi/ Thu, 04 Jul 2024 19:55:53 +0000 https://www.designlinesmagazine.com/?p=82575 Bata Shoe Museum curator Nishi Bassi shares an inside look into her curatorial process for the Dressed to Impress: Footwear and Consumerism in the 1980s exhibition In its latest exhibition curated by Nishi Bassi, Dressed to Impress: Footwear and Consumerism in the 1980s, the Bata Shoe Museum leans into cultural nostalgia with a sizeable footwear […]

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Bata Shoe Museum curator Nishi Bassi shares an inside look into her curatorial process for the Dressed to Impress: Footwear and Consumerism in the 1980s exhibition

In its latest exhibition curated by Nishi Bassi, Dressed to Impress: Footwear and Consumerism in the 1980s, the Bata Shoe Museum leans into cultural nostalgia with a sizeable footwear collection from the most epic, tubular decade: the 1980s. From Reebok Freestyles and original Air Jordans to Brothel Creepers and jelly shoes, this exhibition covers the cultural and social mindsets of the era from toe to heel. Gag me with a spoon!

The exhibit does more than offer a glimpse of a decade in fashion. It captures a chapter of consumerist culture fueled by advertisements, music videos, and films designed to sell the idea of ‘having it all.’

Bata Shoe Museum
Bata Shoe Museum

The ’80s mall set design lays the foundation for the Dressed to Impress: Footwear and Consumerism in the 1980s exhibition.

Curious about the intricacies behind building such an exhibition, we caught up with museum curator Nishi Bassi who shared the ins and outs of her curatorial process, revealing some of her favourite items and the most profound thematic touchstones throughout.

Designlines: What made you choose this project as your solo curatorial debut?

Nishi Bassi: It started a bit jokingly. I talked about doing an 80s exhibition called Too Soon? and all my coworkers who are a generation older than me laughed. Then, I thought ‘Why don’t I look at the ‘80s?’. I chose to think about it critically while using the opportunity to add more footwear to the collection and simultaneously explore a decade that seems to be increasingly popular in pop culture.

Nishi Bassi
Nishi Bassi

Nishi Bassi, curator of the Dressed to Impress exhibiton.

DL: What is your curatorial process like?

Bassi: It usually starts by determining what objects I have available to work with. I had the official idea, and the parameters were clear: it had to be the 1980s. So, I took a closer look at the artifacts and started doing research into what themes were popping up for me. Every pair of shoes can tell a million stories, depending on how you frame it.

DL: How have people reacted to the exhibition?

Bassi: We’ve seen a lot of people! Those over who remember the 80s are especially taken right back. I hear a lot of ‘this is so familiar to me!’ From the neon colours to the mall design, there’s a nostalgic response. 

DL: Any favourite pieces?

Bassi: One of my favourites is a pair of Ralph Lauren riding boots that are just the quintessential rich girl look from the 80s and it’s the same style of boot that Molly Ringwald wears in The Breakfast Club.

Nishi Bassi curation
Nishi Bassi curation

Black Gucci loafters, 1980-89; Nike Cortez running shoes, 1984.

DL: How does this exhibit represent the museum and its mission? 

Bassi: The BSM’s mission is to communicate the central role of footwear in the social and cultural life of humanity, and we express this through all of our exhibitions. What’s interesting about footwear is that it’s ubiquitous. We all wear shoes, yet people rarely think about how footwear reflects complex concepts from gender politics to the symbols of wealth and status.  Something that we aim to do at the museum is take an object that’s so familiar and flip it on its head to get people thinking critically.

Vivienne Westwood
Vivienne Westwood

The Vivienne Westwood Pirate boots, 2020-2023.

DL: What do you hope visitors will take away from this exhibition?

Bassi: When I started at the museum, I was a volunteer working at the front desk. Sometimes, visitors would enter with an assumption that footwear is gendered and that the museum was catered to women. What we try to do at the museum is just play with those ideas. What are the unconscious assumptions that you came in with and how can we unpack those?

Design Details

Courtesy of Arc & Co.’s Robert Joel Cortez

Malls, music videos, Memphis design, and more. That’s what you can expect at the Bata Shoe Museum’s latest exhibition thanks to local design collective Arc & Co. In a longstanding partnership with the museum – with no less than seven showcases under his belt – partner and creative director Robert Joel Cortez explains how he and his team designed Dressed to Impress: Footwear and Consumerism in the 1980s.

Nishi Bassi
Nishi Bassi

A wide shot of the exhibition space.

The Concept

We chose to transform the exhibition space into a representation of a 1980s mall, a concept that not only aligns with the exhibition’s narrative on the era’s excess and rampant consumerism but also serves as an immersive medium to encapsulate the quintessential 1980s experience.

Dressed to Impress, Nishi Bassi curation
Dressed to Impress, Nishi Bassi curation

Shaped LED lights juxtapose classic 80s motifs on the sign of the Dressed to Impress: Footwear and Consumerism in the 1980s exhibition.

The Production

Carefully curated within artifact conservation and preservation guidelines, we opted for graphic wallpapers and laminates, which are versatile in recreating period-specific themes. To further enhance the thematic atmosphere, we incorporated coloured LED light strips and Memphis-style velvet fabric, carefully selected to convey a distinctive ‘80s feel. 

Nishi Bassi curation
Nishi Bassi curation

Displays of ’80s paraphernalia add to the atmosphere.

The Design

 The design elements – ranging from the layout and store window display to the choice of materials, graphic treatment, floral styling and lighting – were selected to evoke the era’s commercial vibrancy and influence.

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Waard Ward Cultivates Art and Community Through Floristry https://www.designlinesmagazine.com/waard-ward/ Fri, 21 Jun 2024 13:36:21 +0000 https://www.designlinesmagazine.com/?p=82702 How a Syrian-born collective is putting down roots in the GTA What initially began as a case study in experimental employment support for Syrian newcomer and florist Abd Al-Mounim and his family, Waard Ward has grown into a multifaceted collective that works in social practice and community organizing through art. Inspired to explore how her […]

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How a Syrian-born collective is putting down roots in the GTA

What initially began as a case study in experimental employment support for Syrian newcomer and florist Abd Al-Mounim and his family, Waard Ward has grown into a multifaceted collective that works in social practice and community organizing through art. Inspired to explore how her own creative practice could benefit others, artist Petrina Ng founded Waard Ward in 2019. Gathering over shared meals, the collective includes educator Laura Ritacca (who introduced Ng and Al-Mounim), curator Patricia Ritacca, and Al-Mounim’s wife Shoruk Alsakni and daughter Hanen Nanaa.

Waard Ward
Waard Ward

Waard Ward collective. Photography by Ammar Bowaihl.

Floristry and gardening are core to the collective’s work. Its inaugural project was an ArtworxTO commission: a public garden featuring historic varieties of Damask roses indigenous to the Middle Eastern region, plus companion herbs. Significantly, the garden is situated in the parking lot of the East York Town Centre in Thorncliffe Park, which has a high concentration of newcomers.

At the Doris McCarthy Gallery at the University of Toronto Scarborough, Waard Ward’s most recent exhibition features a rose garden based on Islamic designs and traditional architectural forms, but also the family’s garden in Syria. It’s a show that involves even more collaborators, including artist Alize Zorlutuna and architect Reza Nik who contributed his own memories of trips to Iran to the garden’s design, with bouquets created by Arabic speaking newcomers during a flower-arranging workshop led by the collective.

Yet, it’s not only about petals and petals alone. The collective’s flower arranging workshop, led by Arabic-speaking newcomers, produces stunning bouquets that transcend language barriers. Waard Ward’s passion extends beyond the canvas and into the lives of others, bridging gaps within and beyond the art world.

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Meet Toronto’s Makers & Shakers https://www.designlinesmagazine.com/makers-shakers/ Tue, 18 Jun 2024 13:15:00 +0000 https://www.designlinesmagazine.com/?p=81385 Three multidisciplinary Toronto designers moving the needle on how we think about art, architecture and design Toronto’s design scene in undeniably distinctive, from art to architecture. From these unique values come three makers – an architect/ artist, an industrial designer/ curator and a furniture and interior designer – embracing the challenge of turning what we […]

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Three multidisciplinary Toronto designers moving the needle on how we think about art, architecture and design

Toronto’s design scene in undeniably distinctive, from art to architecture. From these unique values come three makers – an architect/ artist, an industrial designer/ curator and a furniture and interior designer – embracing the challenge of turning what we know about design on its head.

Dom Cheng toronto creatives
Dom Cheng toronto creatives

Photography by Scott Norsworthy.

Dom Cheng

Architect – Artist
When Toronto creative Dom Cheng started NONUMENT in 2020, it was one of many possible names for his new architecture and design practice. Something about the name stuck with him; it suggested an alternative way of creating something of cultural significance that wasn’t monumental. It was also a term that reminded him of a word artist Robert Smithson could have used to describe his sculpture and land art. Cheng’s artistic practice sprung from his master of architecture thesis at the University of Toronto, which explored the final landing approach to Hong Kong’s former international airport. It was everything but a building, raising the question of whether the work was art or architecture. And while NONUMENT embraces projects on opposite ends of the spectrum, both real and speculative, it is also a practice firmly rooted in building.

Toronto design - Cheng transformed a former music rehearsal studio into a multi-tenant commercial workplace.

Commissioned by the Radke Film Group, Cheng transformed a former music rehearsal studio into a multi-tenant commercial workplace.

Toronto architecture

The Radke Films wardrobe room.

Toronto architecture

Stairs in Cheng’s first first solo project, Ice House. Photography by Scott Norsworthy.

For the Toronto designer’s first solo project was Ice House, a two-storey former ice house converted into a private residence, with the mandate to preserve the material makeup of the building and salvage as much as possible. This was followed by Radke Films, an umbrella media production company that took a chance on a young firm, albeit one with experience and finesse gained over 12 years with Hariri Pontarini Architects. The three-storey building in Toronto’s West End is one to behold. A thoughtful facade exhibits one of Canada’s first exterior applications of microcement, while a neighbouring tree casts fine shadows over its subtly mottled surface. It demonstrates Cheng’s skilful handling of materials  and scale that spans his architecture-cum-art practice.

Sarah Yao Rishea
Sarah Yao Rishea

Sarah Yao-Rishea. Photography by Arash Moallemi.

Sarah Yao-Rishea

Industrial Designer – Curator
“Double Entendre” debuted at the 2024 DesignTO Festival. The group exhibition of 12 emerging Montreal and Toronto designers was Sarah Yao-Rishea’s first foray into curating, working in collaboration with other Toronto designers including Rebecca Sun Collins and Julian Gregory. Inspired by off-site shows in cities such as Vienna, Milan and Paris, “Double Entendre” was a showcase of unique, bespoke and experimental works. The dialogue between Toronto and Montreal was natural – given Yao-Rishea’s connection to both places – and was supported by fellow designer Etienne Vernier. The idea of “double meaning” was the occasion for conceptual and material possibilities to converge through product design in an exhibition format.

Contra Mirror

The Contra mirror showcases Yao-Rishea’s experimentation with glass silvering as a medium.

Alcove Vase

The Alcove vase creates a harmony between the classical vase and an ikebana, the centuries-old Japanese art of arranging flowers.

Duo Side Table

The Duo Side Table’s metal material composition is contrasted by the elegant swooping leg details. Photography by Marc Santos.

Yao-Rishea’s journey over the last decade included studying industrial design at the Université de Montréal, a technical program; moving to Toronto for a product designer position at Umbra, her first dive into home-ware, furniture and accessories; and leaving the country amid the pandemic to do a one-year master of advanced studies in design for luxury and craftsmanship at ECAL (École cantonale d’art de Lausanne), where she discovered a different design ethos that was “inspiring and eye-opening.” Today, she fuels her multidisciplinary practice through independent work, including her own product designs and window displays (for brands including Hermès), and as an industrial designer for Studio Paolo Ferrari. Lucky for us, Yao-Rishea has no plans to slow down her multi-modal explorations.

Brett Paulin
Brett Paulin

Photography by Arash Moallemi.

Brett Paulin

Furniture Designer – Interior Designer 
For three years, Toronto designer Brett Paulin has inhabited a hidden studio just steps from the bustle of Ossington Avenue. Accessed off a quiet laneway, it’s entirely a world of its own. Part workshop, showroom and music studio, the space is filled with his original wood-and-leather furniture, and is the future home of a self-curated home-wares shop.

Brett Paulin

The Vincent chair, shown in walnut and leather, displays a perfect balance of refined and architectural.

Martello Restaurant

Martello Restaurant in Hamilton features deep and alluring millwork by Paulin.

Ekosi Chair

The Ekosi Chair presents an intimate invitation of relaxation.

In contrast with his furniture – which he sells on 1stDibs, all made-to-order for mostly U.S.-based clients – Paulin’s interior design is hyper local. When friends started opening restaurants, such as Primrose Bagel Co. in Toronto’s St. Clair West Village and Martello in downtown Hamilton, he was given carte blanche to apply his creativity. At Lucero Canteen in downtown Kitchener, he built every surface. Keeping his projects purposefully small enables the Toronto designer to design and build every part of them, which is crucial to his hands-on approach. Interior projects under his namesake studio showcase a love of wood, textures and saturated hues. Surrounding himself with what’s inside his mind, Paulin points out the colour and composition of the Persian rugs in his studio, as well as the grain patterns and imperfections in wood.

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Zeynep Boyan Explores the Boundaries of Creativity https://www.designlinesmagazine.com/zeynep-boyan/ Mon, 10 Jun 2024 15:09:58 +0000 https://www.designlinesmagazine.com/?p=81321 Luminaire Authentik’s 2024 artist-in-residence talks creative process and inaugural lighting collection Zeynep Boyan kicked off the new year with more than a sense of renewal. For the Montreal-based artist and designer, January marked the beginning of a three-month concentration as Luminaire Authentik’s 2024 artist-in-residence. Centred around clay, Boyan’s preferred medium, the residency invited her into […]

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Luminaire Authentik’s 2024 artist-in-residence talks creative process and inaugural lighting collection

Zeynep Boyan kicked off the new year with more than a sense of renewal. For the Montreal-based artist and designer, January marked the beginning of a three-month concentration as Luminaire Authentik’s 2024 artist-in-residence. Centred around clay, Boyan’s preferred medium, the residency invited her into the brand’s fabrication workshop and material library to collaborate on a collection of exclusive lamps.
In anticipation of the collection’s spring launch, we caught up with Zeynep Boyan to discuss her artistic journey, inspirations and aspirations for the year ahead.

Zeynep Boyan
Zeynep Boyan

What inspired your pursuit of sculpture and design?

Clay entered my life in an unconventional way. I found myself drawn to creating sculptures, which might seem unorthodox since many begin their journey in ceramics with smaller items like plates and cups. However, I naturally gravitated towards sculptures and simply followed this path. As I grew more comfortable, I expanded into creating larger-scale pieces, including furniture, all sculpted from clay. My inspiration stems from the freedom clay offers and the evolving relationship I’ve developed with it.

You described 2023 as a year of focus on designing collectible pieces. What makes a piece collectible?

Collectible units are sculpted entirely by hand and produced in limited quantities upon request— giving each its own unique character. Despite the labour-intensive process, this focus was driven by my commitment to building an intimate connection with both clay and every individual creation.

Do you have an artistic resolution for 2024?

I don’t believe in resolutions, but I care about building a routine and a consistent relationship with my material of choice.

Zeynep Boyan
Zeynep Boyan

Congratulations on your appointment as Luminaire Authentik’s artist-in-residence. How has the experience been for you?

The experience was an exciting and informative journey. It’s my first residency where I’ve had the opportunity to build a collection in collaboration with a company and I’m looking forward to sharing it with the world.

What can we expect from the lighting collection?

I hold a profound fascination with nature and the historical and architectural artifacts that surround us in our daily lives. The inspiration behind the collection is rooted in this fascination, to build links in a timeless way.

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Fox Whyte Landscape Architecture Connects Robust Designs With a Delicate Approach https://www.designlinesmagazine.com/fox-whyte-landscape-architecture/ Fri, 07 Jun 2024 12:00:00 +0000 https://www.designlinesmagazine.com/?p=82029 Kate Fox-Whyte talks about the importance of collaboration with tradespeople and the environment. Landscape architecture combines the technical aspects of architecture with the artistic expression of design, bearing in mind the environment in which its works, lives and breathes. “There is a third dimension to the industry, the interaction with the natural world,” says Kate […]

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Kate Fox-Whyte talks about the importance of collaboration with tradespeople and the environment.

Landscape architecture combines the technical aspects of architecture with the artistic expression of design, bearing in mind the environment in which its works, lives and breathes. “There is a third dimension to the industry, the interaction with the natural world,” says Kate Fox-Whyte, founder of Fox Whyte Landscape Architecture. “We are designing with materials that are changing with the seasons and depend on their environment to thrive. There is a delicacy.”

Sky Garden
Sky Garden

Sky Garden reimagines this Toronto rooftop into a green space. Photography by Industryous Photography.

Founded in 2005, Fox Whyte Landscape Architecture began as an avenue for collaboration. Fox-Whyte worked as a collaborator and consultant in prominent landscape offices in Toronto but after returning from maternity leave in 2013, decided to branch out to focus solely on her own work.

Since then, the landscape architecture firm has evolved into a technical and creative enterprise, with a primary focus on custom residential gardens.

Fox Whyte
Fox Whyte

In the Sakura Garden, the slatted wood screen inside is mimicked outside with a tall cedar screen that frames the deck and provides privacy. Photography by Industryous Photography.

“The bulk of our work is contemporary in nature, with the goal of creating a custom outdoor space that feels like an extension of its indoor counterpart,” says Fox-Whyte. “Our design decisions are always site-specific and provide a strong connection between the architecture that it’s related to and the site that the gardens inhabit.”

Over the last decade, Fox Whyte Landscape Architecture has defined its practice through planting and plant design, working to make its landscape decisions as contextual and sustainable as possible.

Sakura Garden
Sakura Garden

In the Sakura Garden, Fox Whyte Landscape Architecture creates an oasis. Photography by Industryous Photography.

“We opt to use materials that are indigenous to the area we are working in—which means that the landscapes have an honesty to them and that the planting we are doing is more robust and has a better chance of survival, says Fox-Whyte. “We’re planting in a way that is more reflective of how things would grow in nature, looking at plants not as individuals, but as communities.”

As a result of these custom spaces, Fox Whyte Landscape Architecture works closely with its clients and collaborators, whether that be crafts and tradespeople or other firms on site.

Sakura Garden
Sakura Garden

In the Sakura Garden. Photography by Industryous Photography.

“I love detailed design, it provides the landscapes that we are producing with a high-level finish, but those kinds of details don’t happen without having effective collaborations on these projects,” says Fox-Whyte. “We’re fortunate that over the years we’ve developed some fantastic relationships with local tradespeople, whether they’re landscape contractors or specialists. These relationships allow us to create and execute the designs that we’re developing and detailing.”

Sky Garden
Sky Garden

The sprawling perennials, grasses and two types of Japanese Maple trees create a lush environment seven-stories above grade.  Photography by Industryous Photography.

Operating as a landscape architecture firm in Toronto, Fox Whyte Landscape Architecture has looked up to find new and innovative landscape opportunities. “There is so much space now that is essentially vertical or elevated. Bringing nature to those areas is critical because that’s a huge opportunity for more nature in the city.”

Fox Whyte
Fox Whyte

The Sky Garden balances green space with living space. Sculpture by Ken Gangbar Studio. Photography by Industryous Photography.

The Sky Garden is a seven-story multi-residential rooftop landscape nestled in downtown Toronto. The space features a green roof curated with a mix of native pollinator plantings. Curvaceous garden beds define social spaces, creating a harmony between natural landscapes in the urban jungle. Commissioned sculptures and metal screens showcase a unique blend of artistic expression and structural engineering.

Whether planting seven-plus stories high or curating public works, Fox-Whyte says the most important part of her career is the people. “I think a part of the reason we have such a diverse profile is because of the opportunities we’ve had to collaborate and build strong connections with people inside and adjacent to our industry.

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Get to Know: Unison Group https://www.designlinesmagazine.com/unison-group/ Mon, 13 May 2024 14:41:21 +0000 https://www.designlinesmagazine.com/?p=81280 Sabine Grimes shares the journey and process of forging the Toronto-based design firm through the lens of fine art, human connection and reflection Unison Group was developed out of a necessity to create interiors that have a greater appreciation of architecture, art and dynamic form. Founder and principal, Sabine Grimes, formed the heart of the […]

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Sabine Grimes shares the journey and process of forging the Toronto-based design firm through the lens of fine art, human connection and reflection

Unison Group was developed out of a necessity to create interiors that have a greater appreciation of architecture, art and dynamic form. Founder and principal, Sabine Grimes, formed the heart of the design firm around centering interior design and development as valuable assets, drawing on experience and sensibilities from her formative years working with award-winning architecture firms such as Yabu Pushelberg, KPMB Architects and Burdifilek.

These principals have led Unison Group to flourish into a collective that celebrates interior architecture and design through the lens of fine art, human connection and reflection.

Designlines spoke with Grimes about the firm’s successes, aspirations and motivations.

How did Unison Group get its start?

Drawing from my extensive experience of collaborating with various designers, architects, development, and hotel groups, I identified a key value proposition: the ability for interior designers to imbue projects with empathetic insights into architecture and understand how its intricate elements resonate with people. As interior architects and designers, we translate this understanding into visually captivating and functionally impeccable spaces. While some may perceive interior architecture as sterile, I believe it doesn’t mandate delivering cookie-cutter projects lacking in vibrancy. Instead, by emphasizing the finesse and sensitivity that we can bring to interior architecture, we can elevate the nuanced elements of design.

What are some of the markers of a Unison Group Design?

Typically, across all our projects—be they multifamily or single-family residential, or within the hospitality sector—we strive to uncover intriguing elements. Our forte lies in defining the interior architecture of these projects. We consistently push boundaries and confidently explore novel elements that haven’t been ventured into before. In all our built endeavors, we challenge conventional norms, seeking innovative solutions to interior architectural dilemmas. Our mission is to reclaim ownership of the spaces we inhabit, making them conduits for simplicity and ease in our lives. This shift in perspective is pivotal, as it affords us the opportunity to prioritize what truly matters, creating space for the things that hold genuine significance in our lives.

Private Residential, Browns Valley, California.

How do you approach the ideation process for the spaces you craft?

I believe that good design invariably begins with a thorough comprehension of the opportunity at hand and for an appreciation of our clients. Before putting pen to paper, it’s imperative for us to grasp the full extent of the design intent and the overarching goals driving the project. This approach distinguishes between superficial design solutions and more holistic approaches that have the potential to transcend limited trajectories.

To ensure our work remains forward-thinking and innovative, we study past projects and draw inspiration from diverse sources. Understanding how these spaces were conceptualized and how they function in reality, we gain insights that inform our design process. Whether we’re working on single-family dwellings or cottages, we delve into the underlying motivations driving the project.

As a firm that works internationally, can you share your approach to interior design and architecture as it pertains to Toronto?

Each location where we practice, whether it’s Atlanta, California, Vancouver, Miami, or the Middle East, presents unique challenges and opportunities. Understanding the cultural and geographic nuances and appreciating the reasons behind these are crucial for ensuring that our designs resonate with the local market.

Speaking about Toronto, it’s particularly exciting to infuse our projects with the richness of our diverse cultural landscape. However, it’s essential to recognize that the design ethos in Toronto often caters to a more conservative audience compared to the bold and avant-garde designs seen in places like Miami or the Middle East. This necessitates a different approach, one that balances innovation with a respect for tradition and understated elegance.\

Photography by Alex Lukey.

What do you see for the future of Unison Group?

Looking ahead to the future of Unison Group, I firmly believe that our commitment to excellence will remain unwavering. As we continue to evolve and establish ourselves further, we eagerly anticipate embracing new challenges that come our way. Across the various regions of the world where we operate and conduct business, I envision a growing appreciation for the skill and talent that surrounds us. This will propel us to become more forward-thinking and adept at delivering innovative solutions in the realm of architecture and design.

We find ourselves increasingly involved in ambitious projects with discerning clients who aspire to achieve remarkable heights. It’s gratifying to note that much of our work is imbued with a human-centric ethos. I like to think that every project we undertake celebrates the essence of humanity, transcending barriers of race, gender, and religion. Ideally, our work serves as a testament to the best within us, inspiring individuals to strive for greatness and fostering a sense of unity and inclusivity.

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Hullmark’s Blueprint For Building A Future Toronto https://www.designlinesmagazine.com/hullmark/ Wed, 08 May 2024 18:54:18 +0000 https://www.designlinesmagazine.com/?p=81152 A closer look at how the real estate development company is reinvigorating communities across the city Since its inception in 1950, Hullmark has burgeoned from a modest suburban land development business into a major player in Toronto’s modern urbanization. Founded by the late Murphy Hull, a determined Polish immigrant and plasterer turned real estate visionary, […]

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A closer look at how the real estate development company is reinvigorating communities across the city

Since its inception in 1950, Hullmark has burgeoned from a modest suburban land development business into a major player in Toronto’s modern urbanization. Founded by the late Murphy Hull, a determined Polish immigrant and plasterer turned real estate visionary, the company today boasts a diverse portfolio of commercial, residential and mixed-use projects across the city—developed in tandem with a network of partners in architecture, real estate and retail. Now under the stewardship of Jeff Hull, Murphy’s grandson, Hullmark is sustaining its legacy of revitalizing Toronto neighbourhoods with purpose-built infrastructure and a commitment to shaping a vibrant and transforming urban space.

Jeff Hull, Hullmark, Toronto Urban Planning
Jeff Hull, Hullmark, Toronto Urban Planning

Jeff Hull, president of Hullmark.

One consistency throughout Hullmark’s portfolio is the seamless integration of high design within a site’s environmental context. From the company’s growing list of commercial projects in Liberty Village to its transformative (and stylish) contributions on Ossington Avenue, Hullmark seems to have mastered the rare ability to revamp a site without sacrificing its history. Instead, creating a new space where meaningful and authentic community growth can be cultivated.

“Design has long been a differentiating factor in our success,” says Hull. “We work very closely with our partners to develop a schematic design that will be both financially successful, which is important, but also contextually successful.”

Ossington Avenue, Hullmark
Ossington Avenue, Hullmark

Hullmark’s 46-54 Ossington Avenue revitalization implements enhanced retail and residential space without compromising the block’s historical architectural elements.

Hullmark’s comprehensive approach to real estate development isn’t just great for the city, it’s great for business. With plans to own and operate every project over the long term, the company is committed to building enduring relationships with the communities it serves—paving the way for collaborative efforts on future projects driven by shared long-term interests.

“Initially, the residents association in Ossington was highly distrustful of real estate developers due to past battles over mid-rise condominiums popping up,” says Jeff. “However, over the last decade, we’ve built a relationship based on mutual trust and a proven record of delivering projects that keep the community’s interests at heart. Truthfully, both communities and councillors alike can sniff out the discerning people solely motivated by self-interest, which is where I think we’ve been able to create another differentiation between us and our competitors.”

Catering to the unique needs of each neighbourhood it works in, Hullmark is persistent in building its design team around each individual project—providing the adaptability to address the unique needs of a site like Ossington Avenue, just as much as it can those of a much larger scale.

Hullmark Centre, Toronto
Hullmark Centre, Toronto

In the ’70s, Murphy Hull began pioneering condominium development, which at the time, was a new and unprecedented housing typology in the Toronto suburbs. His life’s work and vision culminated with the Hullmark Centre in 2014, a mixed-use community, and the largest-scale project Murphy had ever undertaken.

Beyond the narrow streets of downtown, Hullmark Centre north of the city’s core at Yonge and Sheppard serves as a framework for the mixed-use and transit-oriented developments essential to Hullmark’s blueprint for building a future Toronto. Realized in partnership with Tridel— Hullmark’s most longstanding partner to date—the commercial, retail and residential condominium complex features two towers and direct access to the Yonge Subway station.

Ten years since the project was completed, mixed-use, transit-orientated developments are just as paramount in Toronto’s growth and in higher demand than ever before. “Toronto has experienced remarkable growth and optimism as a global city, overcoming downturns in recent years,” says Hull. “I’m proud to say that we’ve played a small role in the city’s urban revival, but we envision playing a much bigger role moving forward.”

In the near term, Hullmark plans to raise the bar with its Beltline Yards development: a transit-oriented community that combines (in a layered family of high-rise buildings) dedicated rental housing, employment space for innovative retail and the light industry, high-quality public space and parkland connecting to the city’s most expansive linear park system. It’s also Hullmark’s first master-planned community.

Bordered by the stunning natural space that is the York Beltline Trail along its northwest edge, the 320,000-square-foot development adjacent to the Castlefield Design District will be designed by world-renowned architects, Allies and Morrison, and developed in partnership with real estate investment firm BentallGreenOak (BGO).

The project’s aim is to create a neighbourhood that introduces new uses and building typologies to the area. While it will look different from what is around the site today—rows of detached single-family homes—it will draw greatly from the neighbourhood’s history of making. “We want to create flexible spaces at grade that can accommodate the small and large-scale manufacturing facilities that are already prevalent in the neighbourhood,” says Hull. “Beltline Yards’ history is what will distinguish this new community from any other.”

It’s no secret that the Eglinton Crosstown’s transit infrastructure will imperatively transform the context of the neighbourhood as well. Hullmark’s response to this change includes embracing mixed-use development and increased density, alongside the revitalization of the underutilized Beltline Trail—something Hull considers “A crucial piece of civic infrastructure.”

Hullmark, Designlines
Hullmark, Designlines

Beltline Yards at Bowie Avenue and Caledonia Road. Rendering courtesy of Secchi Smith.

As Toronto continues to evolve, Hullmark’s vision for sustainable, community-centred development will undoubtedly shape the city’s future urban landscape. If Beltline Yards is any indication of Hullmark’s future endeavours, we can expect a promising trajectory ahead.

“Beltline Yards represents an opportunity for us to apply everything we have learned about design-focused neighbourhood development in a multi-phase master plan where we believe we will help establish a welcoming, lively community in the city,” says Hull. “By connecting the city to the beltline with this master plan, we are creating a destination that will become a calling card for Toronto.”

The post Hullmark’s Blueprint For Building A Future Toronto appeared first on Designlines Magazine.

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