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THIS SUMMERAT THE HIGHPICTURING NEW YORK/PICTURING THE SOUTH

JUNE 9–SEPTEMBER 2

Showcasing photographs from the collection of The Museum of Modern Art, New York,

as well as work commissioned by the High.

RISING UP: HALE WOODRUFF’S MURALS AT TALLADEGA COLLEGE

JUNE 9–SEPTEMBER 2

Presenting Woodruff's recently restored monumental murals portraying key moments in

African American history.

REVISITING THE SOUTH: RICHARD MISRACH’S CANCER ALLEY

JUNE 2–OCTOBER 7

Misrach's large-format photographs highlight the environmental degradation of a passage

of the Mississippi River.

Coming Soon:

FAST FORWARD: MODERN MOMENTS 1913»2013

OCTOBER 13, 2012–JANUARY 20, 2013

Explore key moments in modern art with more than 150 works

from The Museum of Modern Art, New York.

Cindy Sherman (American, born 1954), Untitled Film Still #21, 1978, gelatin silver print, The Museum of Modern Art,

New York. Horace W. Goldsmith Fund through Robert B. Menschel. © 2012 Cindy Sherman. Kael Alford (American,

born 1971), Muddy Water, Isle Jean Charles, Louisiana, June, 2010, inkjet print, courtesy of the artist. Hale Woodruff

(American, 1900–1980), The Underground Railroad (detail), 1942, oil on canvas, Collection of Talladega College,

Talladega, Alabama. Richard Misrach (American, 1949), Swamp and Pipeline, Geismar, Louisiana (detail), 1998,

inkjet print. 2012 © Richard Misrach. Courtesy of Fraenkel Gallery, San Francisco, Pace MacGill Gallery, New York,

Marc Selwyn Fine Arts, Los Angeles. Umberto Boccioni (Italian, 1882–1916), Unique Forms of Continuity in Space,

1913, cast 1931, bronze, The Museum of Modern Art, New York. Acquired through the Lillie P. Bliss Bequest.

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Modern Atlanta Ad 2012 2_Layout 1 3/8/12 5:35 PM Page 1

11MODERN ATLANTA

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Download the QR code reader for your smartphone and scan the code to experience all of Axor‘s designer visions for the bathroom.

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Bouroullec, Jean-Marie Massaud and Phoenix Design, Axor creates bathroom collections and room design concepts

which open up new perspectives for the bathroom. Learn more at www.hansgrohe-usa.com/axor

The Hansgrohe Aquademie, conveniently located in Alpharetta, conveys the Axor brand vision and philosophy through

custom vignettes, collection overviews and ShowerWorld — where you can experience more than thirty operational

Hansgrohe showers firsthand (pack your swimsuit!). The Aquademie also offers a Sample Library Program for the local

architect and design community. Borrow a product from our Hansgrohe/Axor inventory of faucets (mounted on acrylic/

non-functioning) for up to one week. The product(s) will be sent, FREE OF CHARGE, to your office or meeting site in

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20 MODERN ATLANTA

Design is Human 2012

On behalf of MA and our proud sponsors, welcome to

Atlanta, home of the 2012 Design Is Human Week (DIHW)

and MA Home Tour in partnership with AIA Atlanta. We

are serving up visitors from nationwide the best Atlanta

has to offer in international design and our own brand of

modern urbanism. Our dedicated team has worked long

and hard to make seven days in June your best design

experience of the year, since 2006, when we began our

humble quest to make Atlanta a host to the international

design community and marketplace.

This year’s Design Is Human Week is best described as

heartfelt and unrelenting. For your enjoyment, every activ-

ity has been elevated to a high standard of design excel-

lence. To begin with, this year’s programming is incredibly

diverse and well-balanced, filled with established and

new activities including the highly-anticipated 2012

MA Home Tour of contemporary residential architecture

and interiors, brought to you by MA and AIA Atlanta.

Open houses and new product launches will include an

educational and exciting tour of DIHW’s major sponsor,

Hansgrohe North America, and a first peek at their new

Axor Bouroullec collection. Room & Board showroom

hosts a talk by celebrated Atlanta-based interior designer

Michael Habachy. And while on your design trail, check

out the elevated showroom activities from Design Within

Reach and Flor.

We’ve also rounded up a few of the city’s top archi-

tects to showcase models and renderings of new and

experimental work, while the studio crawl demonstrates

a strong commitment to the thoughtful contemporary

design that is prevalent in and around Atlanta.

On Saturday, June 9, head over to the High Museum of

Art to catch a full day of inspiring talks. Speakers include

Paris-based architect, yacht designer and former Philippe

Starck collaborator, Sebastien Boissard; architect Marc

Clemenceau Bailly of New York-based Gage/Clemenceau;

the designer of the much publicized pop-up shop for Lady

GaGa’s fashion stylist Nicola Formichetti; and former

Rotterdam-based Bimal Mendis and Joyce Hsiang,

founding partners at Plan B Architecture + Urbanism.

Additionally, the prestigious Yale School of Architecture

makes its DIHW debut. This year Yale will lead two MA-

exclusive events: an exciting talk presented by architect

Brennan Buck, principal at the firm FreelandBuck; and our

first ever panel discussion moderated by AIA Atlanta and

taking place during Launch Night on Friday, June 8.

Inspired by Milan’s famous Bar Basso and as a continu-

ation of MA’s fascination with food, drink and design,

London-based studio DesignMarketo makes it USA debut

in Atlanta with Bar Alto and a cool exhibition celebrating

the iconic Picardie glass, “the original French tumbler.”

On Saturday, scoot over to the Bread Workshop for yet

another fun DesignMarketo activity. Both Bar Alto and

the Bread Workshop will take place at Space2, located on

Edgewood Avenue.

Later that night, upstairs at Space2 you’ll find acclaimed

Atlanta photographer JTRAV, teaming up with the

eclectic Italian fashion brand Marni, courtesy Jeffrey,

for a rare and candid behind-the-scenes live photo shoot

performance celebrating the iconic furniture of Charles

and Ray Eames, courtesy of Room & Board.

Visitors are also invited to the High Museum of Art for

the Atlanta debut and screening of Beka Film’s delight-

fully funny Pomerol, Herzog & de Meuron, which takes

you to harvest time in France’s wine country to discover

a little known project designed by Herzog & de Meuron.

Additionally, on the big screen and in MA’s first collabora-

tion with Netherlands-based DutchDFA, we will present

an exciting series of short-documentaries called Dutch

Profiles. They will highlight Dutch designers, including

Droog, Rem Koolhaus and Maartan Baas among other

established and emerging names. These documentaries

will not only be screened at the High Museum of Art but

also in Edgewood Avenue’s emerging design district.

Check the calendar for event details and times.

No Design Is Human Week would be complete without

MA’s pop-up Guerrilla Store. Every year we add rare mer-

chandise and give visitors the opportunity to take home

a piece of MA. This year’s exclusives include products

from Established & Sons designer Sylvain Willenz and

London’s prestigious Design Museum’s 2012 Designs of

the Year Awards catalog, considered the Oscars of design

awards. MA founder Bernard McCoy is listed among the

award’s nominators including design heavyweights David

Adjaye and MoMA senior curator Paola Antonelli, to

name a few.

Other milestones for 2012 include MA’s new partnerships

with Atlanta Magazine, Octane Coffee Bar, The Sound

Table restaurant, and MINI as the official car for Design

Is Human Week. Additionally, in its third successful

year, YAF’s (Young Architects Forum) 10Up Competition

and MA partner with the Atlanta BeltLine in promoting

bold contemporary architecture in Atlanta. Design Is

Material2, a cool, educational installation about mate-

rial trends, returns for a second year. There is so much

more to experience and no better way to interact with

like-minded visitors than to take part in Design Is Human

Week and the MA Home Tour.

Team MA

MA Co-Founder Elayne DeLeo and I would like to thank

everyone who continues to support MA, our old and

new partners and sponsors, and all who have directly

contributed in making Design Is Human Week one of

the most anticipated design activities in the south-

east region. Special thanks goes to Kevin Byrd and

his amazing design team and Portfolio Center intern

Brittany G. Baum at Armchair for once again creating

an excellent and beautifully designed publication. (Be

sure to vote on your favorite ad at Friday’s launch event;

prizes will be awarded!) Thanks to our talented writers

Acree Graham and Moria Deshpande. All praises to my

longtime dear friend and MA-appointed spiritual advisor,

designer Stefan Kjartansson. Many thanks to Atlanta

Magazine, Yvonne Rakes at Elle Décor, Don Purcell and

Jeffrey, Octane Coffee, Manifesto Architecture, Nick

Gold and Louise Plonowski (Gold Concept PR), friend and

architect Memhet Dogu, Karl Injex (The Sound Table), and

Edgewood Design District (more to come on this initia-

tive) for all the wonderful support and joining in on the

fun. We also want to thank Nathan Koskovich at Young

Architects Forum, HOK and Design Is Material2 curators

John Cantrell, Weronika Cichosz and Amanda Millner for

an amazing installation sure to spark plenty of positive

conversation. Once again, thanks for all the support!

Last but not least, Elayne and I have to thank our families

for supporting us. Thanks to Lawrell and Maddie,

Antonella and Asa.

Enjoy yourselves and each other; after all, design is human.

Bernard McCoy

Founder of MA

Credits & Support

Bernard McCoy, MA Founding Partner & Editor In Chief

Elayne DeLeo, MA Founding Partner & Event Director

Kevin Byrd, Creative Director

Stefan Kjartansson, MA Spiritual Advisor

Matteo Caimi, Director of Architecture & Design

Antonella Mazzucco, Coordinator

Memhet Dogu, Environmental Designer

Sales & Marketing

Nicole Blanchard

Public Relations

Nick Gold & Louise Plonowski, Gold Concepts PR

Design & Editorial

Brittany G. Baum, Designer

Acree Graham, Writer & Editor

Moria Deshpande, Writer

Joe Dreher, Writer

Alex Delotch Davis, Writer

Travis Ekmark, Writer & Designer

Alvin Diec, Writer & Designer

Staci Janik, Writer & Designer

Jackson Lam, Writer

Alana Dy, Designer

Gabriel Ricioppo, Designer

Justin Van Hoy, Designer

Farbod Kokabi, Designer

Coordinators & Assistants

Hollis Wright, Project Manager

Jessica Steele Harding

Emilie Schmitz

Partica Andre

CHUK Lindberg

Jon Gould

21MODERN ATLANTA

22

10UP

ALL DAY

ATLANTA BELTLINE

The Young Architects Forum of Atlanta (YAF Atlanta) is pleased to announce the third annual 10UP competition, presenting 10’x10’ temporary outdoor archi-tecture by young designers. For more information see page 86.

STUDIO CRAWL

6–9P

VARIOUS LOCATIONS

Thinking about building a con-temporary home or remodeling an existing structure? Have questions about how to build modern in a his-torical district? Visit Atlanta’s best modern architects in their studios.

Participating Studios & Offices:LightroomTaC StudioCablik Enterprises

See modern-atlanta.org for the full current listing plus addresses and details.

ATHENS HOME TOUR

10A–4P

ATHENS, GEORGIA

Free with Home Tour tickets ($35).

This year, MA is bringing home tour attendees to Athens, Georgia for an early and special visit of two contemporary homes, includ-ing the first LEED-Platinum home in the Athens area. See the Home Tour section for more details.

PANEL DISCUSSION

6–8P

DESIGN WITHIN REACH

2451 PEACHTREE ROAD NORTEAST

ATLANTA, GA 30305

“The Rise of Modern in a Southern-Traditional Market” will focus on topics from living with the classics to buying disposable furniture. The panel will include an architect (TaC Studios), designer (Rick Bonner), realtor (Vanessa Reilly of Domo Realty), curator (John Edelman, President and CEO of Design Within Reach) and vintage lover (ABC Modern). It will be moderated by James Cramer of Design Intelligence & Greenway Group.

A CONVERSATION WITH ALLAN HELLER6–9P

WHITESPACE GALLERY

814 EDGEWOOD AVENUE SE

ATLANTA, GA 30307

Eats and libations provided by The Sound Table.

Alan Heller’s products have been exhibited at the Louvre, MoMA, Metropolitan Museum of Art and Smithsonian, among many others. His company’s philosophy is good design, industrial production and reasonable prices.

MODERN MIX

6–8PFLOR 1100 HOWELL MILL ROAD NWATLANTA, GA 30318

Meet the creative team behind FLOR—President Greg Colando and Senior VP of Creative, Chip DeGrace—and enjoy an interac-tive evening of discovery and dis-cussion about all things design.

Admission is FREE to all events unless noted otherwise. Tickets for events can be purchased from the MA website or at one of MA’s Atlanta ticket locations. Some events require an RSVP from the MA website.

Before attending any event, visit www.modern-atlanta.org for updated dates, times, locations, and details.

26 01May June

02 05 06June June June

23

HAbACHy LECTURE

6–8PROOM & BOARDWESTSIDE PROVISION DISTRICT1170 HOWELL MILL ROAD NWATLANTA, GA 30318

Michael Habachy, acclaimed Atlanta designer, has a gift for creating drama in a space while maintaining a minimal approach. Here he reveals his process for creating one-of-a-kind pieces for a truly unique interior.

“TEN THOUSAND bUDDHAS” OPENINg RECEPTION

6–9PBILL LOWE GALLERY1555 PEACHTREE ST NE, SUITE 100 ATLANTA, GA 30309

Cha Jong-Rye was born in Dae-jeon, Korea, a historic province now known as the Silicon Valley of Korea, but whose name trans-lates to “large field,” harkening back to its simple, organic roots. Those roots are the basis for Jong-Rye’s monumental works, which seem to defy the confines of space and the natural world. This will be the American debut of “Ten Thousand Buddhas.” See page 40 for more details.

DESIgN EXHIbITION & HOME TOUR LAUNCH 6:30–10:30PTERMINUS 24TH FLOOR3280 PEACHTREE ROAD NEATLANTA, GA 30305

This is the not-to-miss event during Design Is Human Week. Browse new trends in the built environment, exhibitions by fresh young talent, an Eames furniture retrospective, renderings from the southeast’s best studios, new products for the home, and delectable food and beverages for purchase from Octane plus plenty more. And for the first time, the design exhibition will host two MA Talks: “Visualization in Design Pedagogy” with the Yale School of Architecture; and a panel discussion with the designers and architects scheduled to speak at High Museum of Art Saturday, mod-erated by Sarah Schleuning, Curator of Decorative Arts and Design.

$10.00 at the door, or free with a Home Tour ticket, which can be purchased online or at one of MA’s ticket outlets.

Visit www.modern-atlanta.org for more details.

HANSgROHE NA TOUR

11A–3PHANSGROHE N.A.1490 BLUEGRASS LAKES PARK-WAY ALPHARETTA, GA 30004

Spend An Exciting & Educational Day at Hansgrohe N.A.Open to the public(CEU’s for the A&D community)

This unique program offers all MA attendees the opportunity to enjoy an interactive tour of the Hansgrohe N.A. facility led by the president of the high-end K & B manufacturer, Russ Wheeler. Guests will also enjoy a catered lunch and A&D attendees can gain professional credit through two dynamic CEUs (.1 each) by Hansgrohe's Manager, Training & Development, Jen Bruno, regarding sustainability and bathroom design.

RSVP via the MA website to reserve your space. Due to safety reasons, plant tour participants must wear closed-toe shoes.

11:00 AM CEU: Being Green AIA, ASID, NKBABeing Green specifically concerns the application of sustainable living products to the home environment. The class includes an overview of changes in design as presented by Sara Susanka, an architect and advocate of eco-responsible living, and author of The Not So Big House.

12:00 PM: Lunch and Welcome from President of Hansgrohe N.A. Russ Wheeler

1:00 PM: Hansgrohe N.A. Manu-facturing Tour

2:00 PM: CEU The Naked Bath-room AIA, ASID, NKBAThe Naked Bathroom discusses

the basics of bathroom design. Methods of mixing styles are covered, as well as placement and effective use of items. This session also offers tips for the establishment of a great rapport between client and designer.

bAR ALTO

5–9P SPACE2 AT SOUND TABLE483 EDGEWOOD AVENUE SEATLANTA, GA 30312

This pop-up bar by London-based DesignMarketo will offer special-ly selected brews and cocktails. Stop by for a Negroni and chat with one of the up-and-coming artists exhibiting their custom-designed, limited edition Duralex tumblers. See page 62 for more details and additional dates.

DUTCH PROFILES

2P–LATESPACE2 AT SOUND TABLE483 EDGEWOOD AVENUE SEATLANTA, GA 30312

Dutch Profiles are inspiring short documentaries about architects and graphic, product and fashion designers in the Netherlands. Containing interviews with both well-known and upcoming Dutch designers, Dutch Profiles focus on their conceptual approach, their work process, and the context of their projects. See page 58 for more details and additional dates.

07 08June June

24 MODERN ATLANTA

ATLANTAHOME TOUR

10A–4P

VARIOUS LOCATIONS (SEE THE

HOME TOUR SECTION)

MA has joined forces with the High Museum and the American Institute of Architects Atlanta (AIA Atlanta) to showcase design excellence across a wide plat-form. This year’s tour examines the full vernacular of modern residential design in Atlanta, from thoughtful interiors to cool conversion projects.

Tickets are $35 ($25 for students) and include home tour attendance for Saturday, June 2 (Athens homes), Saturday, June 9 and Sunday, June 10, plus entrance to the Design Exhibition and Home Tour Launch on June 8. Tickets can be purchased at the Design Exhibition and Home Tour Launch, online, or at select MA ticket outlets around Atlanta. All ticket holders receive a copy of the 2012 Design Is Human publication and MA Home Tour Guide.

bREAD WORKSHOP

2–5P

SPACE2 AT SOUND TABLE

483 EDGEWOOD AVENUE SE

ATLANTA, GA 30312

Attendees will be invited to make bread, share stories, and learn the history of the London-based bread workshops from designers Alexandre Bettler and Jerome Rigaud, founding partners at DesignMarketo. See page 64 for more information.

A $15/person fee covers the cost of food and equipment. Please register at www.modern-atlanta.org to reserve your spot, as space is limited.

DUTCH PROFILES

4 :15 – 5PHill Auditorium, High Museum of art1280 Peachtree St. NEAtlanta, GA 30309

Dutch Profiles are inspiring short documentaries about architects and graphic, product and fashion designers in the Netherlands. Containing interviews with both well-known and upcoming Dutch designers, Dutch Profiles focus on their conceptual approach, their work process, and the context of their projects. See page 58 for more details.

MA TALKS:yALE SCHOOL OF ARCHITECTURE PRESENTS ARCHITECT bRENNAN bUCK

2:15-3P

HILL AUDITORIUM

HIGH MUSEUM OF ART

1280 PEACHTREE STREET NE

ATLANTA, GA 30309

“Robots in School: Technology and the Next Generation of Architects” New technologies are fundamen-tally changing the way buildings are designed and what they can do for the people who use them. Brennan Buck, critic at the Yale School of Architecture, will discuss the experimentation cur-rently underway and the potential impact of evolving technology for the next generation of architects. See page 26 for more details.

MA TALKS:PLAN b ARCHITECTURE + URbANISM

3:15-4P

HILL AUDITORIUM

HIGH MUSEUM OF ART

1280 PEACHTREE STREET NE

ATLANTA, GA 30309

“Imperfect States: Projects by Plan B Architecture & Urbanism”We live in a less than perfect world where economic instabil-ity, political turmoil and rapid urbanization weigh heavily on our actions. But these unavoid-able exigencies also set apart sites and scenarios as distinctive, unique and even beautiful. Plan B Architecture & Urbanism sees contingencies as opportunities—for agency, adaptation and action. See page 28 for mroe details.

MA TALKS:MARC CLEMENCEAU bAILLy

5:15-6P

HILL AUDITORIUM

HIGH MUSEUM OF ART

1280 PEACHTREE STREET NE

ATLANTA, GA 30309

“Design Liquidity in the Age of the Network Economy” Marc Clemenceau Bailly of Gage/Clemenceau Architects believes that while new technologies will produce advances in architecture, they will also usher in trans-dis-ciplinary collaboration. In “Design Liquidity,” Bailly challenges enlists new players by illustrating his own collaborations between architecture and design—not to mention biology, fashion and environmental science. See page 30 for details.

09June

25MODERN ATLANTA

MA TALKS:SébASTIEN bOISSARD

6:15-7P

HILL AUDITORIUM

HIGH MUSEUM OF ART

1280 PEACHTREE STREET NE

ATLANTA, GA 30309

“Diversion/ Conversion – In Architecture/ Between Industry and Craft” Paris-based architect and designer Sébastien Boissard questions the interface between architecture and design by exploring the influence of industry giants like Pierre Chareau and Jean Prouvé, who built many of the 20th century’s architectural landmarks. Should we hope for a process that sparks interaction between industries and creates a more “democratic” arena? See page 32 for details.

HOME TOUR

10A–4P

VARIOUS LOCATIONS (SEE THE

HOME TOUR SECTION)

MA has joined forces with the High Museum and the American Institute of Architects Atlanta (AIA Atlanta) to showcase design excellence across a wide plat-form. This year’s tour examines the full vernacular of modern residential design in Atlanta, from thoughtful interiors to cool conversion projects.

Tickets are $35 ($25 for students) and include home tour attendance for Saturday, June 2 (Athens homes), Saturday, June 9 and Sunday, June 10, plus entrance to the Design Exhibition and Home Tour Launch on June 8. Tickets can be purchased at the Design Exhibition and Home Tour Launch, online, or at select MA ticket outlets around Atlanta. All ticket holders receive a copy of the 2012 Design Is Human publication and MA Home Tour Guide.

MA FILMS:POMEROL, HERzOg & DE MEURON

7:15P–8:15P

HILL AUDITORIUM

HIGH MUSEUM OF ART

1280 PEACHTREE STREET NE

ATLANTA, GA 30309

Pomerol, Herzog & de Meuron is the second film in a series of documentaries that looks at everyday life inside spaces designed by some of the world’s greatest contemporary architects. This new film takes us to mealtime among the grape-pickers of the prestigious Jean-Pierre Moueix vineyards. See page 100 for details.

JTRAV, EAMES & MARNI

9:30P–LATE

SPACE2 AT SOUNDTABLE

485 EDGEWOOD AVENUE SE

ATLANTA, GA 30312

Atlanta photographer JTrav—best known for the Persona series and his work for CNN’s iReport at South By Southwest—will live-shoot the iconic designs of Charles and Ray Eames and the Spring/Summer collection from Italian fashion label Marni. Eames furniture is courtesy of Room & Board. All Marni is courtesy of Room & Board. All Marni is courtesy of Jeffrey.

10June

26 MODERN ATLANTA

MA Talks

9

Hill Auditorium, High M

useum of Art

Saturday, June 9, 2:15pm – 3:00 pm

1280 Peachtree Street NE 30309

8

Terminus Atlanta (located in Buckhead)

Friday, 8 June, 7:30pm - 8:15pm

3280 Peachtree Rd NE (intersection at Peachtree Rd and Piedm

ont)

The Next generation of Architects

New technologies are fundamentally changing the way

we design buildings and what they can do for the people

who use them. The Yale School of Architecture has

invested heavily in the next generation of hardware and

software, allowing its students and faculty to explore

what robotics and “algorithmic” software might mean for

the buildings and cities of the future.

Students are designing complex sculptural forms, lush

patterns and complex organizations with the help of

computers and computer-controlled tools. Design and

fabrication technologies are simultaneously evolving

faster than ever and opening up to allow architects to

engage them more directly, imagining new manufactur-

ing and construction processes and creating new forms

and materials. Brennan Buck, critic at the Yale School of

Architecture, will discuss the experimentation currently

underway at Yale and the potential impact of evolving

technology for the next generation of architects.

Brennan Buck is principal of the firm FreelandBuck,

based in New York City and Los Angeles, and a critic at

the Yale School of Architecture. His work and writing,

which focuses on architectural technologies and their

associated aesthetic cultures, has been published in Log,

Frame, Architectural Record, Detail, and Surface as well

as several recent books on architecture and technology.

Prior to teaching at Yale, he worked for Neil M. Denari

Architects and Johnston Marklee & Associates in Los

Angeles and taught at the University of Applied Arts,

Vienna, the Royal Danish Academy in Copenhagen, and

Pennsylvania State University. Mr. Buck received a

B.S. from Cornell University and an M.Arch. from the

University of California at Los Angeles.

Visualization in Design Pedagogy

Moderated by AIA Atlanta

In this Yale-led panel discussion, visual representation

is intrinsic to the education of the designer. Its role in fa-

cilitating and communicating a design idea is indispens-

able to the intentions of the designer. Evolving beyond

conventional two-dimensional hand drawing, which

has defined architectural production for generations,

visual representation now encompasses digital, three

dimensional and interactive strategies. The proliferation

of technology in particular has resulted in ever widening

applications, techniques, platforms, methodologies and

audiences for visualization. These new and emerging

forms of visualization demand integrated thinking at

multiple scales, combining complex geometries, informa-

tional systems, geospatial data and parametric modeling.

Whether dictating the precision of tectonic details,

developing a series of iterative plans, or addressing the

complexity of environmental systems, visualization acts

as the crucial interface between designers and their

Robots in scHool

Talks from the Yale School of Architecture

27MODERN ATLANTA

Opposite: Architect Brennan Buck, Freeland Buck ArchitectureAbove: Robotics and Digital Fabrication by Cody Davis. Image courtesy Cody Davis

consultants, clients and communities. What is the future

of visualization in pedagogy as it continues to radically

transform the process of design and its production?

And what are the larger implications on contemporary

visual culture?

The panel discussion will take place Friday, June 8 during

the Design Exhibition & Home Tour Launch. See the

calendar for more details.

Panelists

Brennen Butler, FreelandBuck Architecture

Tristan al Haddad, Assistant Professor of Architecture at

GA Tech SOA, Founder at Formations Studio

28 MODERN ATLANTA

plan baRcHitectuRe

MA Talks

9

Hill Auditorium, High M

useum of Art

Saturday, June 9, 3:15 pm – 4:00 pm

1280 Peachtree Street NE 30309

Imperfect States, Projects by Plan B Architecture & UrbanismWe live in a less than perfect world. Economic instability,

political turmoil, environmental crises, rising oil prices,

overpopulation and rapid urbanization are just a few of

the issues that weigh on our thoughts and actions. But

these unavoidable exigencies also set each architectural

site apart as distinctive, unique and even beautiful. They

can be thought of as opportunities—for agency,

adaptation and action. The imperfect state offers

designers an opportunity to embrace the improvisational

over the deterministic and the indefinite over the finite.

Plan B Architecture & Urbanism thrives within contingen-

cies, using architectural thinking to reconfigure larger

global forces at play through a broad range of interven-

tions at multiple scales. Among their ambitions? Indexing

sustainability in urban areas; developing a spatial

planning strategy for a country that’s projected to be

eradicated by rising sea levels; planning and preserving

an island to counter the effects of rapid urbanization;

creating a tidal park for a local community; designing a

natural retreat for a writer; and mapping, modeling, and

displaying the development of the entire world. In an

imperfect state, Plan B is the new status quo.

Plan B Architecture & Urbanism was founded by Joyce

Hsiang and Bimal Mendis in Rotterdam in 2008. Currently

based in New Haven, Connecticut, Plan B promotes a

culture of interchange and collaboration among its

multi-disciplinary team.

To leverage resources, expertise and intelligence, the firm

works with a constellation of external consultants,

engineers, planners and policymakers. Their designs,

research and writing have been widely published and

exhibited and they were most recently featured in the

2011 Chengdu Architecture Biennale and the 2011 Eye on

Earth Summit in Abu Dhabi, UAE. They have received a

Hines Research Grant for Advanced Sustainability in

Architecture, an AIA Upjohn Research Grant, and have

been named finalists for the Latrobe Prize.

Prior to founding Plan B, Joyce and Bimal worked at the

Office for Metropolitan Architecture (OMA) in The

Netherlands as well as Pelli Clarke Pelli in the USA,

where they led and managed the design and construction

of a broad range of large-scale urban projects throughout

the US, Europe, the Middle East and Asia. Joyce and

Bimal are both critics at the Yale School of Architecture,

where they teach undergraduate and graduate design,

urbanism and visualization studios. Bimal is the Assistant

Dean and the Director of the undergraduate program, and

both received their Bachelor of Arts in Architecture and

Masters in Architecture from Yale.

29MODERN ATLANTA

Opposite: Bimal Mendis and Joyce Hsiang, Plan B Architecture & Urbanism

This Page:World Indexer Exhibition. Image, Plan B Architecture & Urbansim

30 MODERN ATLANTA

MA Talks

9Hill Auditorium

, High Museum

of Art

Saturday, June 9, 5:15 pm – 6:00 pm

1280 Peachtree Street NE 30309

For the past decade Gage/Clemenceau Architects (Mark

Foster Gage and Marc Clemenceau Bailly) have been on

the forefront of redefining design through computational

and material innovation. The firm is a leading voice in a

generation of architects theorizing these revolutionary

developments. In his lecture, “Design Liquidity in the Age

of the Network Economy,” Bailly suggests that while

emerging technologies and materials will produce vast

advances in structural, environmental and physical

performance, so too will they usher in a new world of

trans-disciplinary collaboration between currently

distant fields. He challenges current design practices

and enlists new players into the equation by illustrat-

ing his own collaborations between architecture and

design—plus biology, fashion, robotics, environmental

science, software programming, automotive styling and

material engineering.

Founded in 2003 by Mark Foster Gage and Marc

Clemenceau Bailly, Gage/Clemenceau Architects (G/C

Architects) is a New York City-based design firm

motivated by the premise that architecture transcends

the practice of mere building. In their approach to

projects, G/C Architects privilege expertise and

innovation above simple styling; they value intelligent

collaboration above personal ego; and they promote

client involvement above architectural trends.

Experts at cultivating the flirtatious relationships of form,

space, texture and the emotional responses they elicit,

G/C Architects are avant-gardists whose design-forward

sensibilities have been uniquely informed by classical

training. According to David Sokol for POL Oxygen, “Mark

Foster Gage and Marc Clemenceau Bailly create archi-

tectural symphonies: spectacularly beautiful, intricate

structures with sweeping curved forms, made using

digital instruments and a handy classical education.”

This particular lineage provides G/C Architects with a

platform from which to create enlivened designs for an

array of ambitions and building typologies.

G/C Architects have received international attention at

the MoMA, the Museum of the Art Institute of Chicago

and the Deutsches Architektur Zentrum in Berlin. They

have been featured in the New York Times, USA Today,

Fox News, New York Magazine, Vogue, Wired, Surface

and MTV and have won numerous awards.

The firm is distinguished for its synthesis of aesthetic

innovation with advanced computational technologies,

always keeping in mind that design is, in fact, a cultural

act of utmost importance to all parties involved.

gageclemenceauDesign Liquidity in the Age of the Network Economy

31MODERN ATLANTA

Opposite: Architect Marc Clemenceau Bailly, Gage/Clemenceau Architects

This Page:Conceptual renderings of Nicola Formichetti’s PopUp Store in New York. Image, Gage/Clemenceau Architects

32 MODERN ATLANTA

studio Boissard

MA Talks

9

Hill Auditorium, High M

useum of Art

Saturday, June 9, 6:15 pm – 7:00 pm

1280 Peachtree Street NE 30309

There are many ways to make your mark as a designer.

Certain designers become known for their work in prod-

uct design, or interior design. Some become architects or

inspire new generations as teachers. Fortunately for fans

of Baccarat, Philippe Starck and Studio Boissard’s many

architectural clients, Sébastien Boissard never felt like

he had to choose.

Studio Boissard is an unusual place with output that

crosses disciplines and challenges expectations. Projects

range from restaurant concepts to furniture and yacht

design. The team is led by Sébastien Boissard from Paris,

France. Like many creatives, Boissard credits boredom

with traditional school as the catalyst that pushed him

towards design.

After graduating from one of France’s most acclaimed

design schools, Boissard embarked on a trip around

the world to develop prototypes in terracotta with local

craftsmen. This experience brought to his consciousness

a dynamic that he would explore his whole career – the

relationship between crafts and industry.

His world travels left him with the desire to deepen his

knowledge in Urban Architecture and Design through the

Masters Program at Pratt Institute. During this fruitful

time in New York, he was also invited to be a visiting

scholar at Columbia University.

Boissard’s work with Charles Gwathmey in New York

gave him expertise in construction and the articulation

of detail. This rigorous training was put to the test when

a chance meeting with Philippe Starck in an elevator

lead to the chance to collaborate with Starck to design a

yacht. Success on such a specialized large-scale project

depends on the ability to integrate technology with

furniture design while always focusing on the pleasure of

the space. This was the perfect introduction to the luxury

market, which also afforded the opportunity to work with

highly skilled craftsmen, as well as research new materi-

als and luxurious fabrics.

Not surprisingly, the Starck yacht project opened the

door to more partnerships with luxury brands. Sébastien

explains that to “Collaborate with Baccarat you must

first understand their DNA, the history, and the masters

behind the brand. The key for me was to respect their

methods and to propose a vision that was very thoughtful

and expressed their savoir-faire. “

Studio Boissard is always seeking the next opportunity to

innovate and question the present. Product design may

be ever changing, but the way people live in their homes

and experience their everyday environments hasn’t

evolved at the same pace. Hotels and restaurants can

offer room to experiment because when people visit or

spend a night in a space, they are more open to discover

new ways of living that they might not accept in their

everyday lives.

These new ways of living can involve architecture, prod-

uct design, interior design or a combination of all three.

It’s the intersection of these disciplines that’s captivates

Boissard. This resonates with clients who are conceiv-

ing space as a long-term environment to outlast any

particular design trend.

See more Studio Boissard projects at http://www.studio-

boissard.com

Diversion/Conversion In Architecture and Design

between Industry and Craft

In a powerful talk, Sébastien Boissard questions the

transversality and interface between various domains of

architecture and design. He explores the work of industry

giants like Pierre Chareau and Jean Prouvé, who built

many of the 20th century’s historic architectural land-

marks. In “Diversion/Conversion,” we will take a look at

past and present technological advances and their impact

on architecture and design. We will also study some of

the constructions’ challenges and contradictions. Should

we hope for a new process that produces interaction

between industries? A framework that improves the qual-

ity of products? A more “democratic” arena?

Studio boissard

Sébastien Boissard is the founder and head of the archi-

tectural firm Studio Boissard. Created in 2004 after years

of collaborations in France and the USA, Studio Boissard

is dedicated to the practice of architecture, design and

interior design.

Sébastien trained as an architectural and interior design-

er at the highly regarded Ecole Camondo school in Paris

from 1988 to 1992. With the support of an educational

grant from the French Foreign Office, he then attended

Pratt Institute in New York and earned a Master’s degree

in architecture. During his time in New York, Boissard

collaborated with Tsao & McKown Architects and

Gwathmey & Siegel and Associates, designing hotels,

restaurants, private residences and custom furniture.

Back in Paris, he graduated as “Architect DPLG” from the

school of Architecture Paris–Villemin in 2000. Before es-

tablishing Studio Boissard, he collaborated with Philippe

Starck and Martin Francis, where he was in charge of

designing a 390-foot yacht and participated in the devel-

opment of Mama Shelter Hotel in Paris. Since 2008, Mr.

Boissard has taught 4th-year interior and product

design at “Ecole Camondo” in a transversal studio. He

recently developed a research module on construction

that teaches students an organic awareness of their

relationship to building systems.

33MODERN ATLANTA

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34 MODERN ATLANTA34 MODERN ATLANTA

Design is Material

Each year MA calls attention

to new efforts at sustain-

ability in the architecture and

design industries—particu-

larly those involving material

innovation. After all, isn’t the

medium the message?

36 MODERN ATLANTA

mateRialma

Design is Material

8

Terminus 2, 4th floor

Friday, June 8, 6:30-10:30pm

3280 Peachtree Road NE, Atalnta

37MODERN ATLANTA

The simple idea behind Design is Material 2 is to feature

both renowned and obscure products to the Atlanta

design scene and peak interest around materials.

Materiality has always been a fundamental source of

dialogue in architecture and design, and even within the

industry there are differences in opinion about the “right

and wrong” ways to apply materials, and whether

pragmatic or artistic ideas are most important.

In 2011, the exhibit focused on innovative specifiable

materials using a few teaser products. This year the

Design Is Material 2 curators—John Cantrell, Weronika

Cichosz and Amanda Millner—have created five

collections to approach issues of product and space:

Raw; Specify; DIY; Object; and Process. Raw consists of

organic and inorganic materials that have immediate or

obvious application. Specify will house materials that are

new to the architecture and design market and can be

purchased, applied or specified from a manufacturer. DIY

will be taking everyday materials and transforming them

for uses other than their intended purposes. The Object

category collects works from designers around the globe

whose concept for the piece was about the material from

which the object was made. Finally, Process will move

past the materials themselves into thinking about how

architects and designers manipulate materials with the

tools and processes at their disposal.

At the end of the day the goal is to feature these

items in exciting ways that attract viewers to

materials, in hopes that they will continue the

dialogue beyond the exhibition.

About Design Is MATERIAL Curators

John Cantrell, Interior Designer at HOK

John Cantrell, senior designer at HOK, has a specialty in

the design and construction of sustainable and creative

environments with work for clients such as Bacardi USA,

Porsche, and Sony Mobile. In addition to architecture and

interiors he has extensive experience in product design

development with current designs in both flooring and

furniture. John serves on the Advisory Board for the

Building Arts Department for SCAD as well as having

served as the Sustainable Design Advisor for the Georgia

Chapter of IIDA and chair of the 2008-09 Trash to

Treasure Art Auction supporting Public Art for the

Atlanta BeltLine.

Weronika Cichosz, Interior Designer

Weronika was raised in Mikolow, Poland and educated at

LaGuardia high school of Music and Art in New York City

and currently lives in Atlanta, Georgia. With a degree in

Architecture from Savannah College of Art and Design,

experience in interior design, and passion for graphic design

she is inspired by design at all scales. Currently she

co-curates the visual blogs of Interiology, Illustrology &

Every Little Thing as a way to document exceptional and

interesting design that inspire her to create future work.

Amanda Millner, Interior Designer

Amanda Millner McAdoo is an Atlanta based interior

designer. With a degree in interior design from Georgia

State University. Amanda further developed her design

skills at HOK and TVS before opening her own interior

design firm am2design in 2009. With 9 years of industry

knowledge Amanda specializes in commercial interiors

with a hands on approach. From building custom light

fixtures to designing unique spaces with an emphasis

on functionality Amanda works to create lasting

spaces that inspire.

Left: Ceramics.Image, Heather Knight CeramicsMiddle: Folding A by Mika BarrmikaRight: End Grain Wood Veneer. Image, Rohol-Furniere

38 MODERN ATLANTA

JoHn cantRell

Design is Material

MA first met Atlanta-based senior HOK interior designer

John Cantrell in the summer of 2011 just as we were

ramping up our programming for that year’s Design Is

Human Week. From that chance meeting, what we

learned was Cantrell is a rare and gifted designer whose

work is very thoughtful and executed through his

conventions, travel, and in communicating a design

language that is in demand yet distinctly his own. From

collaborating on high profile HOK projects like the new

headquarters of Porsche North America to being

co-curator Design Is Material1 & 2, Cantrell represents

Atlanta’s new wave of bold young designers set to make

a positive mark on international design.

MA: You’ve mentioned to us that you’re from a pretty

blue-collar background and raised in Alabama, how did

you get into designing Interiors?

JC: Well, I think it’s probably two things. Much of it is

attributed to my family encouraging artistic development

as a child and the other part comes from building things

and being around a shop with tinkerers, specifically with

cars and bicycles. There’s a practicality in car mechanics,

but there’s also something very innate and emotional

with a connection to cars and their beauty, especially in

the south. So I think there’s something in there I

translated to combining the arts, sketching, tinkering,

building into interior design which seemed very artistic

and creative yet also allowed me to hone a craft. No pun

intended, but I took a very meandering road into design,

which is mostly a passion I get to practice every day.

MA: Describe some of your preoccupations in design now.

JC: More and more, I am drawn into trying to tell better

narratives with interiors that comes from things that are

mostly explored in public space. Mostly people are drawn

to their experience of architecture and design only from a

public perspective, however when something becomes

privatized and territorial, one’s perception and experience

changes completely. I’m interested in trying to investigate

how we can get back that sense of collective experiences

in expression and creativity which I think we’ve lost in

our daily lives in very private spaces. Exploring relation

ships between spatial exploration in public installations

and more privatized contexts is something I’ve just

recently started to expand upon and developing this year.

MA: What are some of your sources of inspiration?

JC: The world is full of inspiration if your eyes are always

open. I try not to be as inspired by specific visuals, but

rather draw inspiration from individuals, who they are

and their points of view. I remember being really

moved by people like Natalie Jeremijenko, Gregg Lynn,

and John Maeda not only for their work, but how their

personalities translated that work into various

physical and digital realities.

MA: Does travel contribute to how or what you design?

JC: Absolutely. Although, not in a very literal way. Every

time it seems I travel to a new place, I instantly want to

know about the history and perspective of that place.

Once it seems you do that, you can understand it’s people

and their surroundings with much more clarity about why

natives do what they do, why buildings are way they are,

and so on. For me, I am in awe of how many ways you

can look at the same subject from various contexts. I find

doing this also helps me give clarity and a deeper

sense of meaning to my own work and how the story

is told in that work.

MA: You are curating the ‘Design is Material2’ exhibit

with two co-curators Weronika Cichosz and Amanda

Millner, what are two materials sourced or experimental

that has you excited?

JC: Wow, there is a lot that we are really really excited

about that will be in the show. Without mentioning a ton

of specifics, I think we are really excited about the depth

of information in the material realm. We have contribu-

tors of lots of innovative products, furniture, process and

more that have materiality at the heart of their story in

some way. We are really trying to focus on the language of

what it means to build and apply material and how material

really does affect design from properties they either innately

have or dont have. It should be an exciting display.

MA: Thanks

john.cantrell@hok.com

Senior Designer at HOK

39MODERN ATLANTA

John Cantrell, Senior Designer at HOK

40 MODERN ATLANTA

Cha Jong-Rye was born in Daejeon, Korea, a historic

province now known as the Silicon Valley of Korea, but

whose name translates to “large field,” harkening back to

its simple, organic roots. Those roots are the basis for

Jong-Rye’s monumental works, which seem to defy the

confines of space and the natural world.

The artist works with wood, but not in the way we’re

used to. She challenges the material to do more than

replicate the frozen recollection of a person, place or

thing. She makes wood fluid, as if reminding the observer

of its creation moment, the organic process before the

wood was firmed and placed in the world.

Cha’s works has an earthy sensuality that only hints at a

deeper meaning. The surface is a technically masterful

manipulation of material. Layering delicate wood pieces

and sanding them by hand, fusing and grinding wooden

slivers, Cha meticulously fits together topographical

contours that have no beginning or end.

Opon further examination, Cha seems to call on the ideas

of creation, infinity and eternity. The cone shape

prevalent in her work references birth in nature where a

pointed tip bursts through the earth’s surface and

continues to reach upward as it grows. It is also a

metaphor for the human egoistic experience of continu-

ally reaching to create more and more, greater and

greater as we cement our place in the universe.

Cha Jong-Rye’s exhibition offers an opportunity to

appreciate the materiality and the grain of wood as well

as the unique spiritual context of the artist herself.

Opening at Bill Lowe Gallery on Friday, June 8th, “Ten

Thousand Buddhas” will be Cha’s first exhibition in the

United States. The epic sculptures are a powerful

rendition of contemporary art that has received

awe-inspired reviews in Korea and the UK.

Here in a conversation with the artist, she explains her

relationship to her material and the link between

sculpture and architecture.

AD: What do you most want the viewer to experience

when they encounter your work?

CJR: Many people are used to viewing artwork in the

Western way, reading statements to inform them about

the artist’s intent and shape their opinions. I want my

work to be taken in the opposite way, with the audience

having no information between them and the work,

forcing them to rely on their own insights and experi-

ences. I want each person connect their own world with

the work and come away with a different experience.

This is beautiful to me.

AD: What is the significance of your pieces having such a

large scale?

CJR: Every day I work on carving small objects (roughly

10cm) or trimming plywood panels (1cm). When I have

accumulated enough of them I can go about creating my

large-scale work. I wish to capture a gigantic energy, like

seeing the Grand Canyon or looking up at the stars: lots

of little moments and details combining into some-

thing breathtaking.

AD: Do you consider your work architectural?

CJR: Architecture is a combination of function and

beauty, which is meticulously planned out and built. I

begin creating extempore, but a certain amount of

self-control is still necessary. Is it not a wonderful thing,

looking at the harmony of architecture and sculpture?

About bill Lowe gallery

Established in 1989 and located in Midtown Atlanta, Bill

Lowe Gallery is considered at the forefront of America’s

contemporary art scene.

The gallery represents artists who share powerful and

eloquent visions supported by a highly advanced mastery

of their media. The gallery is noted for the visceral

emotional quality and physicality of its work. These

qualities lend a highly theatrical flavor to the gallery’s

offering. Thematically, the gallery’s aesthetic is character-

ized by a metaphysical yearning articulated by process

and imagery that is strongly psycho-spiritual and

psycho-sexual in nature.

Committed to a standard of excellence amplified by great

visual drama, the gallery’s ability to mount exhibitions

that resonate powerfully with critics and viewers alike

has become legendary. For more information visit

www.lowegallery.com.

8

Bill Lowe Gallery

Friday, June 8, 6:00 pm- 9:00 pm

1555 Peachtree Street NE 30309 cHa Jong-Rye

Ten Thousand Buddhas

Design is Material

by Alex Delotch Davis

41MODERN ATLANTA

Cha Jong-Rye’s Ten Thousand Buddhas. Image, Cha Jong-Rye

42 MODERN ATLANTA

cHimica italia

Design is Material

Chimica Italia is introducting three new offerings from

their line of high-end, next-generation resin products

produced in Italy. Made from cement pastes and resins

and dyed with colors found in nature, they give neutral

spaces a beautifully modern yet earthy look and feel.

Applications range from the minimal to the more elabo-

rate.

geo Texture

Geo Texture is a thick, monolithic covering suitable

indoors but optimized for outdoor surfaces. After proper

preparation, it can be applied to ceramic, cement,

marble, stone, wood and metal. The GeoTexture product

is based on special synthetic and polymeric emulsions,

and combined with natural minerals such as marble,

quartz, powder and plant waxes. It is optimal for covering

outdoor floors and walls, and can be used on completely

exposed surfaces, since it is resistant to severe weather

conditions and U.V. rays. A water-based product, Geo

Texture does not cause any exhalation phenomenon. It

is breathable, has a very high breaking load, maintains

plasticity and can be applied in humid areas.

Perfect Combination

Perfect Combination is the ideal fusion of cement and

resin. Applied as a continuous indoor surface, it is best

suited for crowded, public areas that require easy and

rapid maintenance.

Terre & Color

Terre & Color is the new solution for personalizing

surfaces at work or at home. Fine cement, granular

minerals, cellulose and natural colored oxides come

together to form a cement paste. The paste is then

mixed with a bonding liquid and easily spread with a

special metal spatula. Terre & Color cannot be

duplicated and immediately makes any environment

unique—including furniture.

New Materials for Outdoor & Indoor

43MODERN ATLANTA

Opposite & Top: Il Taglio, Caimi & Asnaghi for HDBottom Left: Perfect Combination, Chimica ItaliaBottom Right:: Terre & Color, Chimica Italia

Transportation Design

More and more designers

are looking differently at

how we move—not the

least of which is MA’s excit-

ing new sponsor, MINI.

46 MODERN ATLANTA

miniRoughly 50 years of fun and motoring have all added up

to this: hundreds of innovations, thousands of checkered

flags, millions sold, legions of devoted fans and one

International Car of the Century award.

Here’s how it happened:

A Familiar Dilemma

The year was 1957, and in post-World War II England the

Suez Canal Crisis had sent fuel prices soaring, leading

many to start wondering if the large, gas-guzzling ve-

hicles of the day made much sense. This led Sir Leonard

Lord of the Morris Company to issue his top engineer,

Alec Issiogonis, a challenge: design and build a small,

fuel-efficient car capable of carrying four adults, within

economic reach of just about anyone. As fate would have

it, the challenge of fitting so much function into such a

small package inspired a couple of historic innovations.

Revolutionary Ideas

The two most important innovations Issiogonis came up

with were to create more room in the cockpit; pushing

the wheels all the way out to the corners and turning the

engine sideways. The world had never seen a car quite

like it. When the MINI first launched in 1959, the public

was quite baffled.

Soon enough, people began to recognize that the MINI

was not merely a car. The unique combination of style at

a low-cost, small size and nimble handling came to sym-

bolize independence and spontaneity. The very essence

of the youthful 1960’s. It was a whole way of life.

A Cultural Phenomenon

One of the most remarkable elements of the MINI’s popu-

larity was how its infectious spirit transcended traditional

class barriers. From hipsters and mods to milkmen, rock

stars and royalty to rally racers. Everyone could have fun

and feel free motoring in a MINI.

It also soon became apparent that Issiogonis’s numerous

layout innovations, intended to create more passenger

room, also happened to help make the MINI incredibly

fun to drive. Wheels at the corners meant a wide, go-kart

stance and nimble handling. The transverse engine

kept weight over the front tires, helping provide great

balance and grip.

birth of a Racer

It was 1961 when the humble little people-mover fell

into the hands of John Cooper. A bigger, more powerful

engine, bigger brakes and a few tuning tweaks later, the

MINI Cooper 997 was introduced and a rally demon was

born. Before long, the nimble little MINI was outlasting

the larger, more powerful, but clumsier sedans of the

day. Visits to the winner’s circle became a regular event

as MINI chalked up numerous international race wins—

including 3 at the prestigious Monte Carlo rally from

1964 to 1967.

you-nique

In addition to being exhilarating to drive, owners loved

how easily their MINI would become an extension of

themselves. MINI was, and still is today, a statement of

their unique individuality, a personality-packed sidekick

that is always up for a bit of fun.

By 1969, over 2 million MINIs had been sold around the

world. Pickups and station wagon versions were intro-

duced and all were incredibly durable – whether rallying

or doing the daily errands. Every owner knew they could

depend on their MINI to get the job done and smile

the entire time.

Everywhere but America

By 1977, MINI’s popularity had truly taken off around the

world with over 4 million cars sold in each corner of the

globe. Sadly, Americans never quite got the chance to

catch the fever since new emissions regulations in the

late 1960’s forced MINI to give up its U.S. green card.

Fast forward to 1999. Over 5 million Classic MINIs had

found happy homes around the world leading a panel of

130 international automotive journalists to vote MINI

“European Car of the Century.” In fact, only Ford’s Model

T received more votes for the global title.

The (short) Story of MINI

—

47MODERN ATLANTA

The Next Evolution

In October of 1999, just a few days before the final

Classic MINI rolled off the production line, the concept

for a new MINI was unveiled at the Paris Auto Show.

The distinctive design and personality was immediately

recognizable and it was clear that the new model took a

healthy dose of automotive steroids.

Making its US debut in March of 2002, the new MINI was

bigger, stronger and faster than ever. Slalom tests prove

that this surprisingly affordable head-turner hasn’t

lost a step and it now ranks among the world’s top

performance vehicles.

Taking the 2003 North American Car of the Year, the gen-

eral public and auto enthusiasts alike found the new MINI

hard to resist. Invoking smiles and curiosity everywhere

they go, new owners quickly discover just how much fun a

MINI can be. Owners personalize their MINIs to their hearts’

content and form motoring clubs all across the country.

Around the world, the MINI phenomenon has been reborn

for all the same reasons its predecessor was such a suc-

cess. Its great fuel efficiency and practicality, an incred-

ible set of custom options, unbelievably tight handling

and an undeniably cheeky personality – people easily fall

in love. So what will the next 50 years of motoring hold?

We can’t wait to find out.

All images, MINIMINI LIneup, the official car of Design Is Human Week 2012

48 MODERN ATLANTA

bikeHangeRmanifesto

Transportation Design

49MODERN ATLANTA

Manifesto Architecture is an award-winning New York

firm led by principals Jeeyong An and Sang Hwa Lee.

Founded in early 2009, Manifesto is united in the belief

that with a unique and innovative concept everyday materi-

als can be transformed into products of exceptional value.

One of Manifesto’s recent creations is the Bike Hanger,

an essential facility for dense urban areas seeking

to increase bicycle-friendliness. Existing systems of

high-density bicycle storage facilities often take up

large amounts of space or rely heavily on electricity and

computerization, resulting in high operational costs and

unnecessary energy consumption. The Bike Hanger can

store six to eighteen bicycles, offering a low-mainte-

nance and environmentally friendly solution to high-

density bicycle storage. Rather than taking up valuable

public space in plazas and pedestrian passageways, the

Bike Hanger can be installed on vertical surfaces such as

buildings or retaining walls. Thus it reclaims underutilized

space around the city and allows for minimal interference

with pedestrian traffic.

The Bike Hanger features a control station that functions

like a geared stationary bicycle: The cyclist pedals in

order to operate and rotate the storage area. The stored

bicycles are hung from hooks similar to those used to

transport bicycles on the backs of automobiles. Each of

these hooks features a locking mechanism for security.

Depending on site conditions, a freestanding version

of the Bike Hanger is also available, and multiple units

of the standing version can be connected in a series to

infinitely increase its storage capacity.

The Bike Hanger has received attention in news media,

international design and transportation-related publica-

tions, and over 700 blogs. It has been selected for the

2011 Gwangju Design Biennale and received the 2011

Design Award by the American Institute of Architects,

the Next Generation Design Leader Award by the Korean

Ministry of Knowledge Education, and top selection by

the 2010 Seoul International Design Competition.

Most recently the Bike Hanger was shortlisted for

London's prestigious Design Museum’s Designs of the

Year Award 2012 (DYA)—considered the Oscars of

design—and is currently featured in the ongoing DYA

2012 Exhibition until July 2012. It was nominated by

MA founder Bernard McCoy, who served as a Design

Museum Nominator along with 43 other celebrated

experts, including David Adjaye, MoMA senior curator

Paola Antonelli, Wallpaper* contributor Aric Chen, and

Emilia Terragni, editorial director of Phaidon Press.

You can purchase a copy of the Designs of the Year

Awards 2012 catalog, which features the Bike Hanger

and all other shortlisted nominees, at Launch Night on

Friday, June 8th or at the pop-up Guerrilla Store during

Design Is Human week.

Manifesto Achitecture’s Bike Hanger at Gw

angju Design Biennale. Im

age, Manifesto Architecture

Design is Material

░⟳

⌖

⚣⚖

♒⤢

C E E V

B C

O M E

U

H R

D O W N

T

Dutch Design

The Netherlands have long been

regarded for their minimalist

and experimental approaches

to design. This year for our

international section, we focus

on the Dutch names in interiors,

product design and more who

are bringing about exciting

change both here and abroad.

⌛

⚖☀

⨂

⁙

⌫

A

R

ME

Y W

U

E R E

O W H A S

N B E

52 MODERN ATLANTA

Dutch Design

steVen banken

Steven Banken graduated Cum Laude in 2010 from the

Netherlands’ Design Academy Eindhoven. His design

company is devoted to craftsmanship and inspired by

broad research into the primitive behavior of the human

being. Banken handcrafts most of his designs directly in

his workshop, resulting in clear construction and punctual

details that betray an industrial, craft-based approach.

Wood is a material with a visual memory. It tells a story

in the shape of a tree, a beam, or a piece of furniture.

With the I-Joist project, Steven Banken is extending the

story of the wood. This beam uses its I-joist to com-

bine a refined beauty with great supportive power. The

numbered oak elements start out as part of a sideboard

designed by Banken. The solid beams serve as drawers

rolling lengthwise across a set of brass wheels. If the

sideboard falls out of fashion, the manufacturer will buy

back the wood and give it a new lease of life as a piece

of high-quality construction material. The traceable serial

number will tell the user the road this piece of oak has trav-

eled, thereby bringing the support beam out of its anonymity.

The cutting of reed and willow shoots was once an annu-

ally recurring scene in the Biesbosch National Park. This

project brings old crafts back to life. The sheaves of the

past return to the landscape as objects to sit on during

the summer. Near the site, wooden or metal clamping

brackets press the harvested material into benches for

walkers. The sheaf follows the rhythm of the seasons:

The reed slowly decays in the autumn and is reabsorbed

into nature. In turn, the resulting refuse finds its way into

nests, floating islands for small mammals and fertilizer for

new willows and reed.

It’s Back to Nature

53MODERN ATLANTA

Opposite: Steven BankanThis Page:Sheaves BenchMaterials: reed and willow Belts: stainless or leather

54 MODERN ATLANTA

Dutch Design

Rianne koens

Rianne Koens graduated from the Design Academy

Eindhoven and is currently concerned with seeking better

solutions to interior needs. Combining interior design

with conventional use, she creates high-quality, usable

products that are constantly refreshing and improving.

They are simple and clear with a poetic touch.

Her recent creation is Peelpride—a series of kitchen

tools that helps enhance the flavor of food and drinks

using fruit peels.

The top layer of fruit peels contain the most aromas,

while the lower, white layer is bitter. The toppeeler peels

even thinner than usual peelers, removing only the

aromatic top layer.

By drying the peels in the peeldryer, their flavor

becomes more intense and their shelf life extends.

More varieties of peels can be dried separated whilst

staying compact this way.

The peelgrinder and dispenser belong together. The

grinder fits to all dispensers and grinds the dried

peels. The dispenser has a perforated bottom to dispense

the crushed peels on food and drinks to create unique

new tastes.

To find out more about Koens and her products, visit

www.riannekoens.com.

How About Those Peelings?

Left: Rianne KoensImage: Femke Rijeman.Above and Opposite: PEELPride. Images, Rianne Koens

55MODERN ATLANTA

56 MODERN ATLANTA

Dutch Design

micHael couRts

The Dutch are extremely skilled at making what is old

new again and finding the right balance between beauty

and function, creating user-friendly objects of desire.

Atlanta-based Dutch furniture designer Michael Courts,

founder at MC Meubel, is no exception to that tradition.

Courts sat down with MA to discuss what is Dutch, but

more importantly, what is not.

MA: How did you get your start in furniture making

and design?

MC: I grew up in the Netherlands, where my mother was

an artist and a fabric sculptor, so in our house we would

made all kinds of things. My interest in furniture-making

started when family bought a farmhouse and changed the

entire interior architecture. A lot of what was being sold

was not useful enough for the farmhouse. At the time, I

felt I could do something better than what was available,

so I starting making windows, tables and so on. That was

my first exposure to working with wood.

MA: How does being Dutch influence your design?

MC: We have a balanced approach to design, functional-

ity and user-friendliness. Also in the Netherlands houses

are small, so we make use of space as intelligently as we

can. For example, I like to put wheels on cabinets so you

can change your interior easily. That is very Dutch.

MA: Is change part of the Dutch design philosophy?

Especially in the home—is design allowed to age grace-

fully?

MC: Longevity is an important consideration. The Dutch

see furniture having a 10-year or longer lifespan. We

prefer simple, clean lines and don’t decorate or cover up,

like painting over things. I think in a house you should use

less color because once you add the objects that go into

a home, the color will take care of itself through all your

personal artifacts.

MA: When you moved to the States in 2004, what was

that adjustment like?

MC: I saw it as an opportunity to do the things I love and

expose my design sensibilities to a new marketplace. I

found the openness to my work very gratifying and I was

curious to see if my ideas would work in another country.

MA: How does design differ here, especially in the South?

MC: In the typical American home interior, everything

is so big. I’ve seen kitchens where only a quarter of the

cabinets are being used. The longevity of interior environ-

ment is only about three years. This still amazes me.

MA: How can you tell how long something will last?

MC: It’s pretty simple to the trained eye. It’s the way

things are put together, the material choices and how

they are used. For example, a liberal use of particle

boards in kitchens and bathrooms looks beautiful from

the outside but will fall apart if you get a little bit of

water on it.

MA: Did your insight reaffirm that you had something to

offer in this marketplace?

MC: It certainly did. I recently collaborated on a project

for a Dutch couple’s bungalow in Decatur. One of our

main focuses was master bedroom, which was as big as

the living room. This is typical in American homes, but

for the Dutch, the bedroom is where you sleep and not

where you live your life.

MA: What furniture did you make for the home?

MC: The long table in the dining room also functions as a

study table and a game table, so that all these activities

are directed to the main part of the house. I was also

responsible for the kitchen island, the interior doors,

bookcases, entertainment unit, bathroom vanity, the

divider that separates the study and living room, and the

outside seating. Much of the material came from wood

left over from demolition, which we were able to reclaim.

MA: The dining table has to be one of the main focal

points in this home. Its industrial design seems very Dutch.

MC: I showed the owners a picture of something I

designed for a restaurant that had metal legs and wood.

We were attracted to the combination of the warmth of

the wood and the hardness of steel, and came up with a

concept for the table.

The legs were from plumbing pipe, a very simple and

humble material yet undeniable in its presence. The

Dutch enjoy using things that are already there and

repurposing them. The result is something nice, desirable

and sustainable.

MA: How about commissioned commercial projects?

MC: One restaurant in particular that I’m proud of is Yeah

Burger on the Westside. The owner and I shared a similar

vision and again, much of the materials are reclaimed. In

fact the wood came from New Orleans. It was thrown in

the river and discovered drifting, then resold.

Bringing the Dutch Way to American Homes

57MODERN ATLANTA

micHael couRts

Top Left: MIchael CourtsTop Right: Kitchen Work StationBelow: The Dutch way. Courts collaborated with the Dutch owners of this Atlanta residence including the dining table, book cases, interior doors, and bathrooms.

58 MODERN ATLANTA

In collaboration with Dutch Design, Fashion and

Architecture (DutchDFA), MA presents Dutch Profiles. The

films will screen at the High Museum on Saturday, June

9, and the Sound Table’s Space2 on Sunday, June 10. See

the calendar for more details.

Dutch Profiles are inspiring short documentaries from

DutchDFA. The films combine interviews with well-known

and emerging Dutch designers and architects and focus

on their conceptual approach, process, and the context

surrounding their projects.

Screenings at The High Museum include:

Christien Meindertsma (Design)

Koen van Velsen (Architecture)

Droog Design (Design)

Conny Groenewegen (Fashion)

Luna Maurer (Design)

Piet Oudolf (Architecture)

Maarten Baas (Design)

Francisco van Benthum (Fashion)

Jongerius Lab (Design)

G-Star (Fashion)

Wim Crouwel (Design)

Mediamatic (Design)

Rem Koolhaas OMA

Screenings at Space 2 include:

Vlisco (Fashion)

Jurgen Bey (Design)

SeARCH (Architecture)

Marcel Wanders (Design)

Li Edelkoort (Fashion)

Powerhouse Company

Vanmoof (Design)

Piet Hein Eek (Design)

Piet Paris (Fashion)

UN Studio (Architecture)

Karel Martens (Design)

Studio Wieki Somers (Design)

Merkx + Girod (Architecture)

Scholten & Baijings (Design)

DutcH pRofiles

Dutch Design

7-9

SPACE2 at Soundtable

Thursday-Saturday, June 7, 2:00pm-Late

483 Edgewood Avenue SE 30312

10SPACE2 at Soundtable

Sunday, 10 June, 4:00pm – 8:00pm

(times subject to change)

483 Edgewood Avenue SE 30312

9

Hill Auditorium, High M

useum of Art

Saturday, 8 June, 4 :15pm – 5 :00pm

1280 Peachtree St. NE

Design on the Big Screen

59MODERN ATLANTA

Edible Design

There’s no limit to where

design can go. And we

believe well-crafted food

and drink deserves as much

attention as, shall we say,

less delicious disciplines.

62 MODERN ATLANTA

Edible Design

baR altoBar Alto was first launched in 2011 during the London

Design Festival. It was the first installment of a new se-

ries of events organized by London-based DesignMarketo

as a direct reference to Milan’s famous Bar Basso, which

was visited by many designers during the Salone del

Mobile international design fair in Milan. DesignMarketo

now offers its Atlanta public a variety of specially select-

ed brews and cocktails, including the famous Negroni, in

the form of a pop-up bar.

For Bar Alto London, DesignMarketo invited Maurizio

Stochetto, owner of Bar Basso in Milan, to come over and

teach how to prepare the Italian cocktail. In its simplest

form, the Negroni is one part Campari, one part Martini

and one part Gin. It’s a variant of the Americano and is

said to have been invented by the Count of Negroni, who

wanted something a little stronger.

Long-time Bar Alto collaborator and London-based

designer Harry Thaler will design the pop-up space in

Atlanta. It will be located at Space2, next to the Sound

Table on Edgewood Avenue.

Duralex Picardie Tumbler Exhibit

Part of the Bar Alto experience will be DesignMarketo’s

limited edition Duralex Picardie glass tumbler exhibit.

DesignMarketo’s Bar Alto 2011 limited edition tumblers

were commissioned to Maria Jeglinska, Loris & Livia,

Use Dev Org, Tomas Alonso, Nitzan Cohen, Lars Frideen,

Max Frommeld, Chiara Onida and Michael Marriott.

The Bar Alto apron was designed by Ally Capellino

exclusively for DesignMarketo. During Design Is Human,

DesignMarketo will be presenting additional Picardie

commissions by popular Atlanta-based designers includ-

ing Kevin Byrd, Travis Ekmark and Colin Farill.

Internationally recognized as a design icon since 1939,

Duralex has manufactured original tempered glassware

and tabletop products for over 80 years in La Chapelle-

Saint-Mesmin in the very heart of France. The original

tempered (toughened) Picardie glasses are still produced

in France and are known as the “original French tum-

blers.” Duralex is the only glass manufacturer that makes

100% of their products in France.

About DesignMarketo

DesignMarketo is a platform developed by HyperMarketo

to help young designers reach a wider audience. Based

in London, it allows anyone in the world to buy products

from amazing designers. DesignMarketo was founded

by designers Alexandre Bettler and Jerome Rigaud. For

more information, visit www.designmarketo.com or email

info@designmarketo.com.

7-9

10

SPACE2 at Soundtable

Thursday, 7 June-Saturday, 9 June 2:00pm-late

Edgewood Design District

SPACE2 at Soundtable

Sunday, 10 June 4-8pm

Edgewood Design District

London-Based DesignMarketo’s Bar Alto Makes its USA Debut

63MODERN ATLANTA

Opposite: DesignMarketo Limited Edition Duralex « Picardie » Tumbler ExhibitionTop: Designed by Julian Bond, LemonatusBottom Left: Milan’s Bar Basso owner Maurizio StochettoBottom RIght: DesignMarketo founders, Jerome Rigaud and Alexandre BettlerAll images, DesignMarketo

64 MODERN ATLANTA

Edible Design

bReaD WoRksHop

Alexander Bettler is an independent graphic designer

who lives and works in London. He founded the Bread

Workshops as a way to use bread to improve communica-

tions between people.

JL: What inspired you to start the bread workshop?

AB: For my dissertation at the Royal College of Art, I

originally wanted to research tea. I was interested in

the fact that tea has an important role both in Japan and

UK, two countries whose design and traditions I’m at-

tracted to. I found I couldn’t go very far with that project,

but along the way I came across bread and baking. I

learned that the French word for friend, “copain,” means

someone you share your bread with. So I started to see a

connection between food and communication.

There’s a sentence about communication I really like that

comes from my mum. And I think it works as a rule for de-

sign: “The important thing is not what you say, but what

the other understands.” So good! I though the best way

to communicate would be to have the receiver design

the message. That way, I could make sure that he—and

people of his same language and level of understand-

ing—would understand.

My dissertation also meant finishing the RCA soon and

figuring out what to do after. I knew I wanted to stay in

London for a bit—there was nowhere else to go, really—

and that I would need a job. Having worked in design

studios before my MA, I didn’t want to work for someone

else. So I thought the best thing was to give myself a job!

Of course the workshop is not my main income, but it

is a valuable part of my work as it allows for complete

freedom and creativity. No client, no deadline, just

serious pleasure.

At the Bread Workshops, I set the brief and get the

students to invent the answers. The subtitle of the

workshop is “a pan European project,” which is a play on

words “pan,” meaning both “bread” and “across.” The

goal is to make a recipe book of different bread styles

across Europe, together with the different design styles

in corresponding countries. So far the bread/design

recipes include Italy, Spain, Scotland, London, Belarus

and soon France.

Jackson Lam is co-founder at Hato Press. Lam gradu-

ated in 2009 with a BA in Graphic Design from Central

Saint Martins and has since worked as an independent

designer in London.

An Ongoing Interview with Alexandre Bettler

9

SPACE2 at Soundtable

Saturday, June 9, 2:00 pm – 5:00 pm

483 Edgewood Avenue SE 30312

by Jackson Lam

65MODERN ATLANTA

All images, DesignMarketoDesignMarketo Breadworkshop in London

66 MODERN ATLANTA

WoRk HaRDeat often

The celebrated avant-garde chef Ferran Adria once noted

that his cuisine was more informed by design than by any

other creative discipline.

With that sentiment in mind, we present this, a design

for a map informed by some notable Atlanta food groups:

pizza, tacos, frites, eggs, sandwiches, and underground

supper clubs.

Antico

B A T O N

Bella Cucina Artful Food

Bocado

Candler Park Market

Elliot Street Pub

Empire State South

Fellini’s Pizza

Gato Bizco

Grant Central Pizza

Holy Taco

Jct. Kitchen & Bar

King of Pops

Leons Full Service

Little’s Food Store

Miso Izakayav

No. 246

Octane Coffee & Little Tart Bakery

Octopus Bar

Staplehouse

Star Provisions

Super Pan Latino Sandwich Shop

By Alvin Diec & Staci Janik

Edible Design

67MODERN ATLANTA

Maintaining hunger in Atlanta’s orbit.

Atlanta Design

MA has always been a

two-way street: bringing

global design to Atlanta

and taking our home city

to the worldwide stage.

Here’s the part where

we highlight the best of

the here and now.

70 MODERN ATLANTAMODERN ATLANTA

Atlanta Design

ten-uRe

Art gallery, coffee house and Atlanta’s fine design com-

munity collaborated last fall to bring us Tenure, celebrat-

ing 10 years of Armchair for 10 good causes. Artists were

invited to create and donate posters, then on November

30, Tenure auctioned them off to a roomful of friends. The

funds raised benefited non-profits ranging from Atlanta

Community Food Bank to Dashboard Co-op.

The design parameters? “Combine your perception of

the charity with the notion of 10 and have something

interesting occur.” Oh, and use Pantone 1925.

And so Armchair’s birthday became both a celebration

of and catalyst for art. Josh Boston, one of the poster

artists, said this about Tenure’s design challenge: “I tried

to go to a physical place. It’s either a beautiful hillside or

the internal musculature of a magnificent pink monster.

Whichever, it’s somewhere I’ve never been before.” And

wasn’t that the point of Tenure—to invite us to venture

somewhere new?

And so on November 30 we hung our coats in the corner

and mingled around {Poem 88}, a white cube of a gallery

in the Westside’s White Provision District. 10 large,

stunning posters flanked the gallery wall behind a row

of monoliths while Octane Coffee, Armchair’s longtime

partner in crime, served small plates and cocktails to a

line that never ended. Beyond the work on the walls, the

hero of the night was the specially concocted Armchair

Red; it combined bourbon, Malbec and lemon juice for a

warm, sweet elixir with a bit of a kick in the ass.

Kind of like Tenure.

10 Artists. 10 Causes. 10 Years.

71MODERN ATLANTAMODERN ATLANTA

72 MODERN ATLANTA

Mariel Childes for Atlanta Community Food Bank

73MODERN ATLANTA

Kevin Byrd for Noah’s Ark

74 MODERN ATLANTA

Farbod Kokabi for Jimmy Rane Foundation

75MODERN ATLANTA

Michael Cina for Dashboard Co-Op

76 MODERN ATLANTA

Over a Skype call separated by an ocean and several time

zones, MA’s Bernard McCoy interviewed Karl Injex, DJ

and co-owner of the Sound Table restaurant and Space2

venue located on Edgewood Avenue, a budding Atlanta

hotspot for nightlife and design.

Injex cut his design teeth at the prestigious Rhode Island

School of Design (RISD) and studied film at NYU before

launching his career as a DJ and restaurateur. McCoy’s

interview focused on the man, the music, and the

Sound Table concept, as well as the future identity

of Edgewood.

MA: DJ, restaurant owner, entrepreneur—how would

you describe your occupation?

KI: I think it can be boiled down to creative director. The

Sound Table is very much like a creative agency. Everyone

on our team brings something unique to the table, and

it is my job to align all these creative resources and

galvanize them around a coherent vision.

MA: How did the concept of the Sound Table evolve?

KI: The concept came together through my experiences

as a DJ. I would end up in Tokyo or Lisbon and friends

would take me to their favorite restaurants or cook for

me to show off their local cuisine. I came to respect food,

wine and spirits as carrying the same cultural importance

as music.

MA: What does the Sound Table do differently from

other Atlanta bars and venues?

KI: We imagined a place where food, drinks and music

would stand on equal footing. Atlanta already had great

restaurants, bars and a few decent music venues, but no

single place where you could take it all in. We discov-

ered rather quickly that transitioning from a high-quality

restaurant to a high-volume nightclub required a good bit

of tweaking to master. Moving into our third year, we’re

benefiting from what we’ve learned along the way, but

we’re still picking up new ideas and recalibrating.

MA: What’s your aesthetic as a designer?

KI: There’s a quote attributed to Leonardo da Vinci that

I find particularly compelling: “Simplicity is the soul

of sophistication.” I think in he was defining minimal-

ism—revealing beauty by subtracting ornamentation.

Our aim with the Sound Table was to create a space that

would feel—and sound—open and warm, with a sharp

focus on materials, particularly wood and concrete, used

in a direct, elemental way. I think honest solutions are

essential. This works for music and service too. Our staff

works hard to give people an experience that is genuine

and tangible.

MA: How much were you involved in the Sound Table’s

design?

KI: My partners and I couldn’t afford to hire a design

consultant, so we said, “What can we do with what we

have?” We got our hands dirty, learned how to demolish

and build walls, managed not to electrocute ourselves,

and became highly proficient at designing on the backs

of bar napkins. In hindsight, I think our limitations helped.

When you’re operating with minimal resources, each

piece has to be executed with efficiency. So we spent

a lot of time researching materials and finding ways to

work within our financial limitations without sacrificing

our aesthetic goals. We installed a custom-built Meyer

sound system, which became the heart of the project in

many ways. My wife contributed a great deal to the

look and feel. She is a lover of design and her insight

was indispensable.

MA: Where does music come in?

KI: When I worked as a music consultant, I learned about

leveraging the emotive power of music to create impact-

ful experiences. When combined with a properly lit room

and attentive service, music is a subconscious guide.

MA: The Sound Table has attracted a lot of creative

clientele, especially with the addition of Space2 and its

support of young designers.

KI: We felt if we created a place that appealed to us,

the same would hold true for our friends in the creative

community. We’ve had the pleasure of welcoming High

Museum curators Carol Thompson and Michael Rooks,

our good friends Arthur and Jay Richardson (co-chairs

of the Radcliffe Bailey Guild), the traveling cast of the

‘Fela!’ musical and acclaimed New York-based artist

KAWS. These relationships have made way for a number

of collaborations, including the Living Walls murals, and

our first event with you, Bernard, along with designer

Travis Ekmark and the Southern Design Concern during

last year’s Design Is Human Week. These kinds of op-

portunities have brought us into contact with designers

like Armchair’s Stefan Kjartansson, Farbod Kokabi and

Kevin Byrd, and in the process we’ve discovered mutual

affinities and shared interests (Farbod runs a record label

and is an excellent DJ, for example) that may allow for

further collaborations in the future.

MA: What’s happening on Edgewood with all this

design energy?

KI: Edgewood is a very entrepreneurial avenue, with

small businesses popping up at an increasing pace. What

it needs now is to translate this momentum into daytime

businesses. I’m talking about local retail, graphic design

studios, video/film production, furniture workshops, etc.

MA: Last question. What’s next for the Sound Table?

KI: We’re working on a music and lifestyle label, extend-

ing our reach while providing greater exposure for the

artists we work with. I have no idea where it’ll lead, but I

do know we plan to have a lot of fun finding out.

Karl Injex

The Sound Table’s “Creative Director” is a Designer of Experiences

77MA12 / INTERNATIONAL

Karl InjexImage, Neda Abghari

78 MODERN ATLANTA

RobeRt tRetscH

MA’s recent interview with Harrison Design & Associates’

fun and insanely bright architect Robert Tretsch uncov-

ered what makes him one of Atlanta’s top design talents.

We also wanted to know why Tretsch is reading (for a

second time) “The World Without Us”.

MA: How did Harrison Design & Associates’ Modern

Studio come about?

RT: Though I have worked in the classical and traditional

arenas, my passion is modern architecture. That passion

plus a desire to expand our design offerings led us to

create a modern studio about four years ago. As director

of the Modern Studio, I focus on contemporary homes

for the Atlanta, Beverly Hills and New York offices.

Continuing the idea that we do not have a “signature

style” within our classical studios, I seek to design

contextually and programmatically within the aesthetic

requirements of my clients. Of course I could be accused

of working in a recurring small thematic idea or detail

here and there.

MA: As a skilled architect designing high-end residential

architecture, what are the obvious advantages in building

a contemporary home?

RT: If you accept the abstract premise that the home, in

its pure form, is a square, then I believe modern design

gives you a more expressive opportunity to manipulate

that square into a greater expression of architectural

dynamism. Ornamentation can be expressed by the com-

position of form and not just by the implementation of

its constituent materials. Natural light can be used as an

architectonic element, and openness becomes a visceral

connection to the exterior.

MA: How important is researching the right materials for

a given project, both exterior and interior?

RT: It’s important to specify the correct product for its

appropriate use. However, you may find that you can use

a product in an unusual way and not necessarily for its

original purpose. For example, using glass as a structural

element in stairs, walls, etc.

Atlanta Design

Making Modern Homes Classic

79MODERN ATLANTA

Above: Private Residence. Image. Image, Harrison Design & AssociatesBelow: Architect Robert Tretsch. Image, Harrison Design & Associates

80 MODERN ATLANTA

Atlanta Design

MA: Is innovation an important consideration in your work?

RT: Innovation in the larger architectonic sense has not

been as critical to our clients as well thought-out, well

crafted details have been, be it in the modern or the

traditional vocabulary. That said, innovation on a more lo-

calized and intimate scale can happen through the study,

experimentation and refinement of detail. It can express

itself in the unusual use and combination of materials

and textures.

For example, I recently completed a penthouse here in

town where we designed an architectural feature to high-

light a particular piece of the client’s art. Taking our cues

from the artwork itself, we introduced a folded plane

composed of blackened and waxed steel and 100-year-

old barn wood beams cut into tongue-and-groove boards

to create a ceiling-wall-bench composition that framed

the wall sculpture.

MA: How much, or little, has Atlanta residential

architecture changed in the past 10 years? What trends

have you witnessed?

RT: Other than the demise of it in 2008? But seriously,

we have seen some clear trends regardless of style. Our

clients have consistently been requesting more natural

light, larger windows, expanses of glass. The advance-

ments in glazing technology have allowed for these larger

window and window wall sizes. There is an increased

desire for outdoor living and greater connectivity, both

visual and physical, between the interior and the exterior.

With that, they want a more open floor plan, a more

generous and fluid connection between spaces.

MA: Because design is really more about our human

experiences, what is your favorite place to eat or grab

coffee, and what are you currently reading?

RT: My favorite place to eat right now is actually an un-

derground eating establishment called PushStart Kitchen.

This is an incredible “secret” little spot at the Goat Farm

on the Westside, putting out truly amazing food.

I also have an unseemly addiction to Dunkin’ Donuts cof-

fee: accessible, uncomplicated and free—due to a gener-

ous number of gift cards received at Christmas this year.

I am reading The World Without Us right now—actually,

for the second time. It’s an incredible thought experiment

based on the idea that humanity just up and disappears

from the face of the Earth, resulting in the decay and

destruction of our infrastructure. It is fascinating how the

Earth would reclaim itself and erase most of the vestiges

of human civilization in a surprisingly short period of

time. Having this in the back of my mind sure makes

Walking Dead more fun.

81MODERN ATLANTA

Private Residence. Image. Image, Harrison Design & Associates

82 MODERN ATLANTA

Atlanta Design

kWanza HallThere are at least two distinct sides to Kwanza Hall.

There is the politician, who is the Commissioner of

District II with an office at City Hall. His other, more per-

sonal side, I met in May of this year at Lotta Fruita, which

serves as both his neighborhood office and favorite hang-

out. This local restaurant is not far from where he and his

family reside in the Martin Luther King Historic District.

Kwanza represents District II, Atlanta’s most socio-eco-

nomically and culturally diverse district. Rich in history

and culture, the district includes Centennial Olympic

Park, Sweet Auburn, the King Center, Carter Presidential

Library, Georgia Tech, Georgia State University, Atlantic

Station and Inman Park, the city’s first suburb.

JD: How did you become aware of Modern Atlanta and

what do you find interesting about us?

KH: I met Bernard and Elayne a few years ago and we

have been trying to do more every year to get people

involved. We have a lot of different things to offer in

Atlanta. We need to find more ways to bring them all

together. As a Councilperson by day, teaming with groups

like Modern Atlanta I can help bring policy makers

together with those who are affected by policies and

establish relationships to help plan a better Atlanta. By

night, there is also Kwanza after dark, a part of me who

has lived in cities like Chicago, Boston, New York, and

Washington D.C., and traveled around the world to places

like South America, Asia, and Europe. In most interna-

tional cities the Modern Movement is well established.

We are an international city if by no other reason than

we have the busiest airport in the world. As a citizen

of the world, I have seen the level of cachet groups like

Modern Atlanta can bring to a city—with speakers from

around the world, sharing films, fashion, and challenges

for designers here to compete with designers from all

over—plus the home tour, which opens up some of the

best examples of modern design to the public. At the

same time, MA is focusing a spotlight on those in need

and sponsoring events to raise funds and awareness for

important causes. Of course, I want to share MA with

other citizens here in Atlanta, because we deserve to

have a truly dynamic environment. That is what is pos-

sible in Atlanta. We have the foundation. We just need

to connect the dots. Transportation is a critical piece of it

and supporting the business people and involvement with

groups like Modern Atlanta are all an important part of

our future. We have the ingredients, we just need to do

it. I am excited about it. Really excited!

JD: What is it like to represent District II and what

makes this district so significant to a successful future

for Atlanta?

KH: I enjoy being the councilperson for the heartbeat of

Atlanta. I believe we owe it to our visitors to show them

the best that we have to offer. We want them to see

that on their way to the attractions downtown or to the

shopping and nightclubs of Buckhead, they pass through

many of the neighborhoods that make Atlanta unique.

These communities have great places to eat, shop, and

visit for a festival or special event. District II offers many

destinations for visitors such as unique neighborhoods,

green spaces, walking and biking trails, architecture, art,

food, and a rich cultural history. It also offers great oppor-

tunities for residents to live and have a small business.

Entrepreneurs, artists, designer, and others who “get it”

are realizing once again that these neighborhoods offer

the ingredients for a small business to start and grow.

They offer the incentive to live and work in the same

place.

JD: Can you provide an example of what you are doing as

a politician to support small business?

KH: There are the food truck vendors, whom we want to

bring from five or ten trucks to a hundred. That creates a

couple hundred jobs for entrepreneurs who may eventu-

ally have five more trucks or a few restaurants. It is all

about creating a fertile ground for businesses, like how

colleges foster the intellectual curiosity of young people

and give them a supportive environment were they can

stretch themselves. It is not always about the money. A

little bit of resources and some support from the city go a

long way toward making it easy to get started.

JD: How important are the new residents and new busi-

nesses to District II?

KH: Small businesses are essential to the success of

Atlanta. Creating a foundation for supporting local busi-

ness is critical for any nation’s economy. As a city, we

want to align ourselves with President Obama’s Startup

America Program. I have a proposal to let District II

be the test-bed for new ideas—like partnerships with

groups like Modern Atlanta, Start Atlanta, Start Up Riot,

and ATDC at Georgia Tech. We have an opportunity to

Connecting the Dots By Joe Dreher

83MODERN ATLANTA

MA spent a day with Atlanta City Council Member Kwanza Hall in District 2.All images, MA

84 MODERN ATLANTA

Design is Atlanta

become a real design center if we leverage the energy of

the young people in our colleges. The city should be the

living laboratory for the schools. We can offer real proj-

ects with real sites and see what kind of creative thinking

happens. Let’s give these students real opportunities and

a reason to stay in Atlanta after graduating.

JD: Has the economy and loss of jobs changed your vi-

sion for the future of District II?

KH: People have to be creative in times like this. Many

have been forced to rethink their future and where they

live and work in order create new opportunities for them-

selves and their businesses. We have to adapt and move

forward, creating new types of jobs and businesses.

Many unemployed people have turned to volunteering

as a way to meet people and show their skills while

improving their community. People have become social

media experts and learned new ways to find opportuni-

ties. Others have expanded their services to market these

skills to a broader range of clients. Some have turned

their creativity to other fields, finding a need and filling it.

They are the ones creating new jobs.

One positive thing about a down economy is it gives you

a chance to cool things off and figure things out. We

built a surplus of housing in Atlanta when the economy

was strong. Usually, housing follows jobs, but in Atlanta

jobs tend to follow housing. So, what we need to do is to

make this environment fertile for the creators, those who

create the things and ideas that create jobs. These times

force you to be creative, to pull out your very best ideas

and figure out how to make a building stand on its own

as opposed to tearing it down. Adaptive reuse is coming

back in a strong way. The former Midtown branch library

is now the new office for Perkins + Will and is completely

“off the grid.” In Atlanta, we honor and appreciate the

past, but we also look forward by incorporating some

of the best ideas of other parts of the world in our

future plans.

JD: Atlanta has been called a city without a center. A

place with many points of interest, but with no distinct

focus and limited connectivity. How do we make a more

connected Atlanta?

KH: You said the operative word, “connectivity.” In

Atlanta, we are disconnected in these various neighbor-

hoods in different ways. There are areas that are more

diverse and areas that are homogenous. There are the

physical disconnections but we can also be disconnected

based on income and class. There is a great neighbor-

hood just to the south of us here, but the railroad and

the train yard physically divide us. The Old Fourth Ward

and the King district are divided from Reynoldstown and

Cabbagetown. We can go through the tunnel, but it’s not

that easy to traverse as a pedestrian. So, what we have

in front of us is what many other further-developed cities

in the States and internationally have already done. We

have plans for building out a transportation network:

the BeltLine and the Street Car projects and the broader

Regional Transportation Plan that would allow for com-

muter travel from Atlanta to North Carolina, Alabama,

Florida and Tennessee. What does it do for our region

if we can hop on the train and in thirty minutes be in

Chattanooga or Birmingham, in an hour and a half be in

Savannah or in two hours be in Charlotte?

JD: Transportation changes everything—the way we live,

the way we work… the possibilities grow exponentially.

KH: We can work in ways we haven’t been able to since

the turn of the century. Before, you could live in those

places and work here or vice versa. You could seek new

markets in an easy way and find out if there is business

there. Especially for creative people who can take their

office with them by phone and computer. A second kind

of connectivity is just making the city more pedestrian-

and bike-friendly with bike-sharing programs, scooters

and scooter parking, and car-sharing programs. These are

not new concepts but have been revived by modern-

thinking people who create new trends. The third kind

of connectivity takes place around new technologies.

Innovations like Groupon and Scoutmob help us explore

new places and find people who like the same things. So,

we might not live in the same part of Atlanta but we have

something in common and that brings us together. Now,

that changes the game as well.

JD: I don’t think there is another Atlanta politician as

well-known for social networking.

KH: There are people at city hall who are not sure about

social networking. I am not afraid of technology. It is just

another means of connectivity we can use to bring us

closer together.

JD: What can an organization like Modern Atlanta do for

District II?

85MODERN ATLANTA

KH: Look at design as a way to connect. Do you build

walls around a neighborhood or do you make that

neighborhood a destination? These are two totally differ-

ent ways of thinking about community. We need to find

opportunities to connect at all levels of design in a way

that is sustainable.

JD: Do you have a personal passion for modern design?

KH: I am always thinking of great ideas I have seen

abroad and how we integrate them into Atlanta.

European cities inspire me with the way they combine old

a new in a way that respects the history of a place while

celebrating the present moment and future aspirations

of a city.

JD: I hear you were a graffiti artist growing up.

KH: When I tell kids that they say, “For real?” I tell them,

“Yes, but it was really pretty stupid.” I made mistakes

and learned from them and that is what makes me human

and a part of the diverse fabric of Atlanta. When I heard

complaints about skateboarding in District II, I didn’t try

to stop it. Instead I worked with the community to provide

the new skate park. We had meetings with the skaters

and developed a plan. We are not trying to be perfect

like other parts of Atlanta. We like having diversity and

celebrating difference, accepting people for where they

are and who they are.

JD: How has modern design become more accessible to

the people in District II?

KH: Most of the modern design you see in District II is

not luxury homes; it is young people with modest budgets

and designers with creative solutions for city living.

Companies like Ikea, Design Within Reach, and Room and

Board have changed the game in Atlanta. Many people,

as we are starting to see, have always wanted to be

modern; they just didn’t have a way to buy it. We used

to get our fix at stores like Domus and then go home and

try to justify buying a sofa that cost more than our car.

However, when people are able to get a little taste of

what they like, when it becomes accessible, then more

businesses move in to supply the demand.

JD: What project in District II is of personal importance

to you?

KH: I really want to complete the Martin Luther King

Historic District. As a councilperson, an African American

and a young man whose father was a member of Dr.

King’s staff, I owe it to Atlanta’s legacy to make it hap-

pen. As we revive the economy, we need to revisit the

guidelines, rethink and revise. I think we have room for

modifications that would allow for modern solutions

to add value to the district. I like houses like the Glass

House in Ansley that are traditional in front and modern

in the back. I also like creative solutions for using small

lots and tiny homes.

Atlanta is the cradle for the Civil Rights Movement with

leaders like Martin Luther King, John Lewis, Jimmy

Carter, and even Ted Turner. Why not celebrate what we

have here in Atlanta’s rich cultural history in a way that

speaks to our current time? Every city has to use what it

has to its advantage. Why try and be who you’re not? Be

who you are and make the best of that.

JD: It is obvious you are passionate about the people

of Atlanta and your role as councilperson for District II.

We’re pleased to have your support.

KW: Modern Atlanta shares the same level of passion

for people through design that I share for people through

politics; we both see the potential. I have to embrace

groups like MA because they could go elsewhere.

Modern design adds a different dimension to a city that

already has a significant and historical past. We can do

it together, showing a respect for the past and looking

forward with a vision for the future. By the way, that was

my campaign theme.

All Images, MA

Opposite Page: Bicycle Gallery on Edgewood Blvd in District 2.This Page: Kwanza talks with District 2 resident.

86 MODERN ATLANTA

Atlanta Design

10up

Simply put, the Atlanta Beltline is second to none. As a

twenty-two mile linear park and the longest arboretum in

the world, it is a ground-breaking urban plan that doubly

generates intensified densities within the city while also

restoring the natural tree cover and wildlife habitats that

were devastated by 20th century sprawl. Our project

aims to celebrate such innovative thinking in the realm

of urban renewal and seeks to educate the 2012 MA

(Modern Atlanta) audience about the Beltline as its sets

high values in the area of urban design and offers such

widespread positive impact to the City of Atlanta. Instead

of providing a name for this project, we instead reinforce

the same important question of culture and environment

that has been pursued by the designers of the Beltline...

What will live here?

Like the Beltline, the installation seeks to join together

the Atlanta community with indigenous wildlife through

the construction of a tensegrity canopy. Tensegrity is

a structural principle based on the use of compressive

components inside a net of continuous tension. In this

case, the tensegrity structure will double as a temporary

bird habitat. The wood compressive elements in this

canopy will serve as bird feeders while the net of tension

elements will serve as bird perches. Due to the lightness

of such a system, it is ideal for a project that requires

such rapid deployment.

The canopy is comprised of eight interconnected tenseg-

ral icosahedron modules symmetrically decreasing in

scale as they cantilever from the center of the site along

the axis of the Beltline. The icosahedron modules will

be fabricated and connected at an offsite facility so to

calibrate the structural dynamics of the system prior to

being transported to the site. The mocked up canopy will

be field verified by a structural engineer to ensure the

structure conforms to specification. Once the engineering

review is complete, the canopy will be demounted and

transported to the site where it will be re-installed over

the course of twenty-four hour period. The installation

sequence includes the connection of eight modules on

the ground using temporary scaffolding. Once the eight

modules are joined, the long span canopy will be jacked into

place and the supporting columns will be secured below.

Once installed, the lightweight aviary cloud will float

overhead, just out of reach, cantilevering over fifty feet

beyond its small 10' x 10' footprint. Celebrating the

Beltline's conservation of green space while embracing

community density, the installation will serve as a place

of cohabitation between local birds species and design

enthusiasts. The structure will invoke the repetition and

axiality of the former rail while looking forward to the

revitalization of Atlanta's wildlife habitats. In the spirit of

the Beltline, the industrial noise of the heavy rail will be

replaced by the sound of the song bird, in turn calling us

to canopy the once downtrodden space in celebration of

its renewed life.

Visit 10UP website for more details and a list of the run-

ner up and honorable mentions.

http://www.yafatlanta.org/10up

26Atlanta Belt-Line

Saturday, May 26-June 10, All Day

Midtow

n West

The 10-foot by 10-foot Pop-up Architecture Competition

- 10

87MODERN ATLANTA

Opposite: 2011 10Up Winner ‘Edge Condition’ by Synecdoche Design.Image, Synecdoche DesignThis Page: 2012 10UP Winner 'What Will Live Here?" by Tim Frank & Chip Clark

88 MODERN ATLANTA

MA’s pop-up Guerrilla Store has a definite growl to it.

Through special partnerships with various exhibitors

during Design Is Human week, the Guerrilla Store punctu-

ates the MA experience by extending “the opportunity to

take home a little piece of MA,” according to MA founder

Bernard McCoy. It’s yet another fun way you can connect

and grow with MA.

In true MA fashion, you’ll enjoy the kinds of unique and

beautiful objects that inspire what we do best—bringing

people together and showcasing design excellence from

around the world.

Most of the items on sale at Guerrilla are inspired by

Design Is Human Week and only available in small runs

and one-offs. Items include the STUFF Bag by Established

& Sons designer Sylvain Willenz; UK-based JAMILY's

MA limited edition kitchen apron with mitts; MA-

commissioned original art and paintings by acclaimed

Italian painter Marco Grassi, fashion illustrator Jarno

Kettunen and Paris street artists SupaKitch & Koralie;

the “We-Do” raw tote bag (part of London’s RCA design

exhibition in collaboration with the giant textile company

Kvadrat); the book Yes Is More about the trailblazing

architecture of Copenhagen-based BIG; and more.

Another purpose of the Guerrilla Store is to further the

careers of young designers. MA dedicates approximately

30% of all its activity to this important sector.

Come visit us on Edgewood Avenue during Design Is

Human week.

ma gueRRilla stoRe

Atlanta Design

Amazing Brands with Amazing Stories

89MODERN ATLANTA

1 Ninie de paris bag

2 Mojito tiny wallet

by Malcolm Fontier

3 Light Arc Umbrella by Knirps

4 Visual Acousitcs DVD

5 Green phone

6 Marti Guixe Food Book

7 Dinner Table Map placemat

8 Chairless by Vitra

9 Bjarke Ingels Group’s Yes Is More

10 Design Museum Design Awards 2012 Catalog

11 ‘Heaven’ Tea Towel by Robert Ryan

12 Jamily limited edition MA apron with mitts

13 SupaKitch & Koralie original Street art

14 ‘STUFF’ bag by Established & Sons designer

Sylvain Willenz

15 Jarno Kettunen original illustrations/paintings

1

3

5

6

10

9

8

11 12 13

14 15

7

2

4

90 MA12 / INTERNATIONAL

Atlanta Design

tHeatlantabelt-line

91MODERN ATLANTA

The Atlanta BeltLine is the most comprehensive eco-

nomic development effort ever undertaken in the City of

Atlanta and among the largest, most wide-ranging urban

redevelopment projects currently underway in the United

States. The Atlanta BeltLine is a sustainable redevelop-

ment project that will provide a network of public parks,

multi-use trails, transit and affordable housing along a

historic 22-mile railroad corridor circling downtown and

connecting many neighborhoods directly to each other.

Atlanta BeltLine, Inc. (ABI) is the entity tasked with

planning and executing the implementation of the Atlanta

BeltLine in partnership with other public and private

organizations, including City of Atlanta departments.

Turning Boundaries into Public Spaces

Fourth WardAll images, Beltline Atlanta

92 MODERN ATLANTA

WeaRableplanteRs

Colleen Jordan is the owner and designer of a start up

Atlanta-based product line called Wearable Planters. A

graduate of Georgia Tech’s Industrial Design program,

Colleen uses rapid prototyping-equipment in her Grant

Park studio to design and fabricate jewelry and other

products that allow users to to carry a plant around with

them all day.

Wearable Planters began to gain international atten-

tion after Colleen was invited to exhibit her work in a

design show in New York City during 2011’s International

Contemporary Furniture Fair. Since then, her products

have been featured in Fast Co. Design, Daily Candy,

Etsy, Inhabitat, NotCot, Swiss Miss, Design Milk, Design

Sponge, Elle Decor China.

The following interview was recorded in April. Colleen

spoke with us about her products, methodologies, and

experiences as a young designer and entrepreneur.

TE: How did your line of wearable planters come about?

CJ: It started as an idea while I was in school that a lot

of professors said would be impractical. So, of course,

that meant I had to try to make them work.

TE: How did you decide you wanted to make use of rapid

prototyping as a manufacturing solution?

CJ: Mainly the cost and the low level of commitment. I

can make just one of something and see how it turns out

for just a few dollars rather than create molds [for con-

ventional manufacturing] and turn out 10,000 somethings

for a much larger [upfront] cost…

TE: Do you feel like your products or your identity as a

designer are influenced at all by Atlanta?

CJ: It’s definitely instilled a desire in me to change

things. I see that [in Atlanta] we have a crappy transpor-

tation situation with some other irritating things and real-

ize it could be better. It makes me find smaller solutions

to make [life] a little more pleasant.

TE: Yeah, someone once told me that a designer is

someone who takes an existing situation and turns it into

a preferred situation. I always liked that definition. Do

you have any advice for design students?

CJ: Inspiration won’t always come to you in the studio,

so you have to leave it sometimes… and never turn

down the offer to go eat with people, that’s where the

best conversations and ideas come from.

www.wearableplanter.com

Atlanta Design

Homegrown Design

By Travis Ekmark

93MODERN ATLANTA

Wearable Planter No.1, Wearable Planter Icosohedron, Wearable Planter No.2

A Planter for Your Bike

Wearable Planter No. 1

Etcetera

Film, lighting, shops and transfor-

mation—not everything we love

can fit in a box.

96 MODERN ATLANTA

estate inextRemaDuRa

Located in a privileged environment in the province of

Cáceres, the goal of this structure was to transform

an abandoned stable into a family home by completely

renovating it to be consistent with and respectful toward

the environment.

Architects ÁBATON solved the problems relating to elec-

tricity and water supply through the sustainability sys-

tems that the firm uses in all its projects. They developed

a solar panel system with storage batteries to supply

energy during the summer and installed turbines to take

advantage of the course the two streams run through the

estate to provide electricity for the winter.

built area, 322 m2

Architecture Project, ÁBATON

Construction Project, ÁBATON

Interior design collaboration, ÁBATON and Batavia

Team

Camino Alonso (Architect, Project Director, Studio

Director)

Ignacio Lechon (Architect and Landscape, Project

Managment)

Fernando Alonso (Mining Engineer, Technical and

Construction Manager)

Etcetera

Transformation from Stable to Estate

97MODERN ATLANTA

Before. Old and abandon stable located in the Spanish countryside.After. Archticture by Abaton

Images, Belen Imaz

98 MODERN ATLANTA

ego collectiVe

Paris’s definition-defying Ego Design Collective dares us

to reconsider our opinions and prejudices.In this melting

pot of ideas, powered by a strong design team, the only

message is that there is no message. Like a raging child,

this newly opened space on the rue Croix des Petits

Champs throws out ideas for the pleasure of seeing

where they land. You need only expect the unexpected here.

Ego Collective’s founder Marc Bonnet puts it this way:

“What we get is 30 square meters of furniture, books,

graphics, cuisine, photography and objects from the very

cheap to the very expensive, all in perpetual motion,

brought together with humor plus a pinch of irony stirred

into the mix. The retro rubs shoulders with the avant

garde; the trashy winks at the luxurious and nothing

stands still for long. Just don’t forget to leave your

preconceptions at the door.” We did just that when MA

founder Bernard McCoy visited Bonnet in Paris for a

sit and chat.

MA: Let's start with your name?

EDC: For the business, it's Mr. Marc (laugh).

MA: I like that, Mr Marc. And the name of the business?

EDC: Ego Design Collective

MA: Which means?

EDC: The idea for me is that the ego is positive. You have

an ego, good or bad. I decided on Ego Collective because

ego expresses individuality and collective represents the

coming together of all these egos in a positive way.

MA: What is your vision for Ego Design Collective? What

inspired creating a gallery like Ego?

EDC: Firstly, I wanted sophistication in the house...a

desire for more sophistication. Because in France you

have very natural environments inspired by Danish design

and natural woods, etc. But there are interesting and

lost textures like satin and gold that were reminiscent of

the 1920s, 1930s, and 1980s, and I wanted to mix these

periods all together. I want to mix natural woods, steel,

design, photography, prints, not only one story. And the

other idea of Ego Design Collective is to have prices

range from 35 euros to 5000 euros. Its also is about

having fun with different worlds, with pictures, like...I like

the picture of the little Japanese woman.

MA: Speaking of different worlds, I've notice one other

Japanese artifacts, the beautiful purses.

EDC: For glasses. It is from Kyoto, Japan.

MA: How did you find the designer?

EDC: Its my friend Michelle. She lived in Kyoto for a few

months. And my wife, Evette, was in Japan and returned

to Paris with some. I saw the print and knowing someone

in Japan, I asked if is she send me some.

MA: How long has Ego Design Collective been opened?

EDC: We opened April/May 2011. It was very warm

in Paris. I call it Black Spring. Black Spring, it was 30

degrees (celsius) outside but it was winter.

MA: How about all these different exhibits inside the

gallery?

The Definition-defying Ego Design Collective

Etcetera

99MODERN ATLANTA

Ego Collective in Paris, FranceAll images, MA

EDC: There's the wall of fame, a lot of pictures from

Casa Vogue, the Italian magazine. On that particular wall,

there are also some ads, with Marlene Dietrich with ego,

Josephine Baker with ego, some are absurd because at

times life can be absurd.

MA: And how about the striking wall exhibit that looks

like curtains?

EDC: It is made from old scarfs. It is the idea of recycling.

The exhibit is hundreds of different scarfs, all cut and

custom-stitched.

MA: It is beautiful, is it for sale.

EDC: Yes, everything here is for sale. When visitors see

this particular piece, they comment how mysterious it

looks. Everything is for sale except for the letter E which

represents Ego Design Collective.

MA: Do you agree that calling Ego Design Collective a

gallery is an appropriate label?

EDC: No, I actually call it shop gallery or boutique gallery

because the term gallery for me is too serious. Also not

a gallery because I don't sell art. However I do showcase

photographers whose beautiful work sells upwards

$5000. And I also like to show graphic designers I know

is doing interesting work. But at the end of the day, I'm

inspired by furniture decoration, books...photographic

books. And I have to say...no candles! Because you go to

all the nice shops in Paris and see candles...no candles.

MA: Being labeled as a gallery sort of boxes you in and

limits the perception by others that you are not more. Tell

me about the these chairs were seated in?

EDC: I travel around France and find antique dealers. I

found these badly damaged chairs that had dirty fabric.

But I also found tapestry or upholstery fabric from the

1950s and thought it a good idea to use on these chairs.

I hired a really good upholsterer to do the work. Good

upholstery work is a major consideration in how the final

product will not only look but also feel.

MA: What is the name of this exhibit and when will it

come down?

EDC: Exhibitions at Ego Design Center typically run for

about 2 months. Since opening, this is the third set we've

staged. The ehxibition is called Power Print and explores

the contrast of maximum and minimum. In the beginning I

thought we would change exhibitions once a month but this

did not work because people need to time to know about

it and get out to see it. For me, changing exhibits is like

Christmas because I get so much pleasure from the process.

MA: What is your background? You live in New York for a

short time?

EDC: Yeah, I live in New York 1987 to 1988. It was a

wonderful time. New York will always be in my head

because New York is a great city and has great energy.

My background, I did political science. I've done graphic

design with my brother. I've worked in fashion with my

wife as a designer for handbags for good companies like

Chanel. My wife was asked to do design work for another

company that made some extra cash. So I said to her

we cannot start the gallery without cash, why not call it

CASH instead of Ego Design Collective (we all laugh).

MA: Is some of the New York energy reflected in Ego

Design Collective?

EDC: Yeah, I hope so. Some people enjoy my music.

MA: What do you listen to?

EDC: I'm not only into 50s, but am also into good hiphop.

MA: I hear you playing hiphop, some Gang Starr.

EDC: yeah-hiphop classics. And some funk, the old reg-

gae...yeah, its black music mainly.

MA: Thank you Mr. Marc.

100 MODERN ATLANTA

pomeRol, HeRzog & de meuRon

Etcetera

Living architecture series

9

Hill Auditorium, High M

useum of Art

Saturday, June 9, 7:15 - 8:15 pm

1280 Peachtree Street NE 30309

101MODERN ATLANTA

pomeRol, HeRzog & de meuRon

During Design Is Human, Beka Films’ Living Architecture

series will present Pomerol, Herzog & de Meuron,

described as “the architecture cult movie” by El Pais and

“hilariously funny” by the New York Times.

Pomerol, Herzog & de Meuron is the second film in a

series of documentaries that looks at everyday life inside

the spaces designed by some of the world’s greatest con-

temporary architects. This new film takes us to the party

atmosphere of mealtime among the grape-pickers of the

prestigious Jean-Pierre Moueix vineyards. They eat in a

dining hall designed by architects Herzog & de Meuron

in Pomerol, France.

In order to admire the distinctive features and traits of

this building, the film is set during the crucial phase in

its lifecycle, harvest time. Pomerol, Herzog & de Meuron

offers an unusual visit of Herzog & de Meuron’s project,

observing the grape-pickers’ daily activities and joining

them at mealtimes and celebrations that mark the long

days of this period of hard work.

A film by Ila Bêka & Louise Lemoine. Image & sound by

Ila Bêka. Editing by Tiros Niakaj and Louise Lemoine.

Production by Beka & Partners. Duration: 50. Year: 2011.

About Living Architecture

Living Architecture is a series of films that seeks to

develop a way of looking at architecture. It turns away

from the idealization of architectural heritage and

understands that the cult of perfect, disembodied forms

entirely devoid of people inevitably leads to a break-up

between architecture and living space. Through these

films, Ila Bêka and Louise Lemoine put into question the

fascination with the picture, which covers up the build-

ings with preconceived ideas of perfection, virtuosity and

infallibility. Bêka and Lemoine seek to demonstrate the

vitality, fragility and vulnerable beauty of architecture as

recounted and witnessed by people who actually live in,

use or maintain the spaces they have selected.

Most of the buildings chosen are of architectural renown

and designed by the so-called “star architects” who have

been awarded the Pritzker Prize.

Unlike many movies about architecture, Living

Architecture films focus less on explaining the structure

and its technical details than on letting the viewer

enter into the daily intimacy of icons of contemporary

architecture. Through a series of moments and fragments

of life, an unusually spontaneous portrait of the building

emerges. This experiment presents a new way of looking

at architecture that broadens the field of representation.

102 MODERN ATLANTA

foRm us WitH loVe

In today’s society, it seems like we’re always in need of a

plug socket to charge our computer, tablet or smartphone.

Ateljé Lyktan presents a solution to this everyday problem

—a lamp with a bonus of an electrical socket.

The design studio Form Us With Love came up with a

simple idea based on the new need in today’s society of

constantly needing to recharge computers and smart-

phones. Besides giving you an electrical socket, the

Plug Lamp also gives a pleasant aesthetic to the

process of recharging.

By integrating the socket in the lamp it also takes away

that annoying process of searching for a socket or having

to unplug something in order to access an electrical

point, says Form Us With Love. The Plug Lamp has a

bulbous shape and a base in molded and powder coated

aluminium; here the plug socket is displayed centrally,

making it a decorative detail. The light itself is concealed

by an opal glass shade and the lamp is dimmable.

The Plug Lamp is great for public places like hotels,

cafés and restaurants where people usually are in search

for a place to recharge their electrical devices. But it’s

also perfect for the home, like on the bedside table, says

Thomas Holm, Marketing Director, Ateljé Lyktan.

Available colors: Green, red, grey, black, white

A product video is available here:

http://youtu.be/LYkyQSPEP58

www.atelje-lyktan.se

Plug Lamp for Atelje Lyktan, Sweden

Etcetera

103MODERN ATLANTA

Image, Jonas Lindström

104 MODERN ATLANTA

HansgRoHeaxoR bouRoullec

Etcetera

The Freedom to Create

7

Hansgrohe HQ

Thursday, June 6,11:00-3:00PM

1490 Bluegrass Lakes Parkway, Alpharetta

105MODERN ATLANTA

French designers Ronan and Erwan Bouroullec are among

the most sought after in the international furniture industry.

Their philosophy? Products should adapt to the user, not

the other way around. Now they’ve created a new faucet

system called Axor for the green company Hansgrohe.

Ronan and Erwan Bouroullec like to leave it up to the

individual to envision a use for their design objects. With

this approach, they tap into the spirit of our times—for

we all prefer that our products respond to our needs.

For Axor, they started thinking about their vision for the

bathroom as early as 2004. Their Axor WaterDream proj-

ect was similarly formed by the idea of placing the central

focus on the individual and giving consumers the freedom

to adjust the products to their own needs and wishes.

Axor Bouroullec is a collection that is not constrained by

a rigid pattern. In fact, more than 40 bathroom prod-

ucts—from faucets, accessories and washbasins to the

bathtub—give you the freedom to create the configura-

tion that best suits your individual needs.

The position of the faucet is not predetermined: You can

decide where to locate the spout and handles above, on

top of and around the washbasin. Shelves integrated into

the washbasin permit flexible positioning of the spout

and handles or provide space to store your personal

items. The collection gives you the freedom to customize

your bathroom as never before.

Axor Bouroullec will be at the Design Exhibition and

Home Tour Launch Friday, June 8, from 6:30 to 10:30pm,

where Hansgrohe will present the concept of the collec-

tion and explain in detail how this concept can be put

into practice from a planning and a technical perspective.

See the calendar for more details.

The Naked Bathroom discusses the basics of bathroom

design. Methods of mixing styles are covered, as well

as placement and effective use of items. This session

also offers tips for the establishment of a great rapport

between client and designer.

From all over the world, to right here in Georgia,

Hansgrohe has built its 110-year history on state-of-the-

art technology, top quality design and exemplary custom-

er service. Founded in Germany’s Black Forest in 1901 by

visionary Hans Grohe, the company has established itself

as one of the international innovation and market leaders

for the kitchen & bath industry. From one generation

to the next, the company has actively demonstrated its

true passion for water. To date, Philippe Starck, Antonio

Citterio, Jean-Marie, Patricia Urquiola, as well as Ronan

and Erwan Bouroullec have partnered with Axor. Making

its North American debut this year, the Axor Bouroullec

collection presents a versatile design approach, allowing

users to “Feel Free to Compose” their ideal bathroom

space based on personal preferences and aesthetics.

www.hansgrohe-usa.com

Opposite: French designers Ronan and Erwan BouroullecThis Page: Axor Bouroullec

106 MODERN ATLANTA

moDeRn atlanta Home touR The MA Home Tour provides design enthusiasts and

the general public with an inside look into the world of

cutting-edge and distinctive residences in Atlanta.

This year, MA worked with the Georgia Chapter of the

American Institute of Architects to curate this year’s

selection of homes. The homes and their designers are

showcased here via an “open house” format, and tour

participants have the opportunity to see some of the city’s

latest residential projects from the inside out, meet with

architects and interior designers, explore housing trends,

and discover design solutions that inspire modern Atlanta

living. The MA12 Home Tour focuses on showcasing

exemplary models of living modern through lifestyle,

architecture, interior design, and landscaping. Homes

range from the classic postmodern to the state-of-the-art

contemporary.

This year we are pleased to extend the tour to the Athens

area. It will be showcased on the Saturday before the

Atlanta Home Tour.

In close partnership with AIA Atlanta

107MODERN ATLANTA

Vail Residence

145 Kings Mill Court, Roswell, GA 30075

Justice/Kohlsdorf Residence

5075 Greenpine Drive, Atlanta, GA 30342

Clark/Zook Residence

1169 Milmar Drive, Atlanta, GA 30327

Perkins+Will

1315 Peachtree St NE, Atlanta, GA 30309

9th Street Residence

292 9th Street, Atlanta, GA 30309

East Avenue Residence

765 East Avenue NE, Atlanta, GA 30312

1

2

3

4

5

6

Plutino Residence

1431 LaFrance Street, Atlanta, GA 30307

Walsh Residence

31 Mayson Avenue NE, Atlanta, GA 30317

Park Loudermilk Residence

329 S McDonough St, Decatur, GA 30030

Newcomer Residence (June2)

150 Pulaski Heights, Athens, GA 30601

Newland Residence (June2)

315 Tanglewood Drive, Athens, GA 30606

Google Map:

http://bit.ly/mahome12

7

8

9

10

11

Atlanta

76

5

4

3

2

1

8

9

Athens

10

11

108 MODERN ATLANTA

109MODERN ATLANTA

This house was designed and built for Shelly Justice and

Mike Kohlsdorf, who both travel extensively for work. The

goal was to create a house that would give them a fun

and relaxing welcome on the weekends.

The house sits on a lake in Buckhead, since both like

to fish and shoot competitively. It is EarthCraft certified

and made of steel, engineered wood and concrete. The

exterior materials are mainly stained Georgia cypress,

Egyptian limestone, and blue fieldstone, with minor

elements of corten steel and plate steel.

On the lower level, built into the hill, is a small art gallery

space, shooting range, entertainment room with bar, and

guest suite. There is a small mezzanine above the main-

level kitchen that contains a third bedroom suite with its

own private deck overlooking the front courtyard.

As you enter the house, you’ll step over a water basin

that spills over into a lower basin. This basin creates a

moat around the powder room, which is elliptical in plan.

The waterfall is visible as you move around inside the

house.

The house was a collaborative effort between homeown-

ers and architect. Shelly, who is not a professional

interior designer, took on most of the responsibilities of

the interior design short of creating actual drawings. This

ultimately contributed to the colorful energy and personal

feel of the house on the inside.

Justice/koHlsDoRf5075 GREENPINE DRIVE, ATLANTA, GA 30342

ARCHITECTURE

DENCITY LLCINTERIOR DESIgN

SHELLY JUSTICE CONSTRUCTION

CABLIK ENTERPRISES

110 MODERN ATLANTA

Custom-built in 1957 by Martin Cohen, this four-bedroom,

mid-century modern ranch house stands in a wooded

area full of vintage homes on the west side of Buckhead.

In 2008, the architect and her husband, who own the

home, undertook a renovation project to preserve the

modern sense of design while updating some features to

accommodate the needs of an active family of four.

The renovation reconfigured the living spaces of the

home to upgrade the kitchen, enhance the flow and make

it easier to entertain guests. The new kitchen, family

room, and living room retained floor-to-ceiling windows

from the original design to bring the feel of the surround-

ing woods into this restored urban retreat. Cedar for the

soffits and new trellises, shade screens and developing

outdoor garden space surrounding the exterior embraced

the wooded setting of the site.

One feature to notice is the entry wall grid of wood

paneling, laid out in a geometric pattern reminiscent of

Mondrian. Meanwhile, a multi-level outdoor courtyard

accommodates an herb garden, grilling stoop, outdoor

entertainment and kids’ playspace.

claRk/zook 1169 MILMAR DRIVE, ATLANTA, GA 30327

Modern Home Tour

ORIgINAL ARCHITECTURE

CHARLES M JOHNSTON & ROBERT B TIPPETTRENOVATION ARCHITECTURE

FRANCES FLAUTT ZOOKRENOVATION CONSTRUCTION

POWERHOUSE INC.

111MODERN ATLANTA

This 2011 home is on a small urban infill corner lot in the

Edgewood neighborhood, not far from Little Five Points.

The client requested a home that was very modern yet

human-scaled and used materials that would imbue the

home with a sense of warmth.

The architects emphasized site-specific design and inte-

gration of the home with the outdoors. An operable glass

wall opens the interior living area to a covered outdoor

space for seamless entertaining.

Exterior wall materials pass from outdoors to indoors at

many locations, furthering the effect of blurred exterior/

interior boundaries. Large, architecturally integrated

planters on the second level of the home add privacy to

key areas while maintaining a sense of openness.

Impeccable detailing was achieved on a relatively mod-

est budget of less than $500K through judicious use of

high-quality materials and efficient use of space. To that

end, the design does not provide for a separate formal

dining room, instead acknowledging the increased use of

kitchens for entertaining. A 20-foot white marble kitchen

island becomes seating height for an integrated dining

space.

The entrance of the home presents a unique solution

to the problem of safety: The front door is tucked away

behind a large stone wall and water feature and not

immediately visible from the main street. Meanwhile the

house maintains an inviting appearance.

plutino 1431 LAFRANCE STREET, ATLANTA, GA 30307

ARCHITECT

WEST ARCHITECTURE STUDIOCONSTRUCTION

CABLIK ENTERPRISES

112 MODERN ATLANTA

113MODERN ATLANTA

ARCHITECTURE LIGHTROOM

The Park-Loudermilk house is a new private residence in

the historic MAK (McDonough-Adams-Kings Highway)

district of Decatur, an area where a modern house has

never been built. It honors Lella Ross Wilburn, the first fe-

male architect in Atlanta who designed many of the other

houses in this area. The clients, Bes Park and Allison

Loudermilk, are interested in sustainable approaches to

design and emphasized geothermal and passive solar

ideas.

The house’s design is a modernist critique of Wilburn’s

work, with edited details that use a restrained palette of

materials. The historic guesthouse references southern

vernacular architecture with its spatial sequence and

sculptural stair. Bridging the guesthouse to the new wing

is the courtyard, containing an old sycamore that became

a stunning focal piece of the residence, viewed from a

fifty-foot glass wall within the house.

The material palette for the project includes hard coat

stucco, Georgia cypress, and Hardiplank concrete siding.

paRk/louDeRmilk 329 SOUTH MCDONOUGH STREET DECATUR, GA 30030

114 MODERN ATLANTA

Vail

Built in 2011, the Vail residence is a single-family home

located on a heavily wooded and steeply sloped site in

Roswell, Georgia.

The planning and design phases involved many months

of collaboration between the architect, homeowners and

several builders to align the program goals with the proj-

ect budget of $155 per square-foot (excluding the cost of

land and design fees). It was designed to minimize its

footprint on the site while maximizing views of the sur-

rounding landscape. The plan is composed of two primary

zones, private and service. The two systems have distinct

spatial qualities and create unique relationships with the

surrounding context.

The home is Earthcraft Platinum-certified and features

a ductless HVAC system, organic mineral paint on the

interiors, natural limestone stucco on the exterior, fiber

cement exterior cladding, recycled paper and bamboo

countertops, strand woven bamboo floors, stairs and

decking, and passive solar design and solar PV panels.

The two-story structure shows as a modern California

ranch from the street (the second level is built into the

hillside) while the posterior features floor to ceiling

windows providing expansive views of the National

Park. The 10-foot height public space has an open floor

plan consisting of a kitchen, dining and family room with

adjacent ½-bath and a built-in office space.

The VAIL residence is sponsored by Hansgrohe.

145 KINGS MILL COURT, ROSWELL, GA 30075

Modern Home Tour

ARCHITECTURE

JORDAN WILLIAMS, PLExUS R+D

CONSTRUCTION

BERT THOMPSON, FOREST BROOK PROPERTIES

STRUCTURAL ENgINEERINg

ALLEN MORRIS, STABILITY ENGINEERING

CAbINETRy

RYAN MATHERN

115MODERN ATLANTA

The goal of this 2009 project was to take the lifestyle of

the modern family into the modern home.

A stair tower separates the two main functional spaces.

The 24-foot ceilinged front half of the home is designed

for entertaining, while the private area of the home lies

behind the stair tower. Wood wood trim, custom cabine-

try and large windows compliment and warm the space,

while concrete countertops and stainless steel give a nod

to modern sensibilities.

The house includes many passive environmental features.

Window placement was specifically designed to bring

the outdoors into the living space while minimizing

the impact of the Georgia sun. The south-facing lean

brings indirect sunlight into the house throughout the

year. Existing tree placement combines with east-facing

windows to allow light in while minimizing direct sunlight

during the heat of the summer. All windows are double-

pane low-E with a UV filter. The home utilizes batt insula-

tion in the walls with spray-applied foam to insulate the

first floor and roof. The green roofs not only minimize the

building’s impact but also add further insulation through

four inches of architectural soil.

When combined, the features of this home create an

environment that facilitates and enhances modern life.

WalsH31 MAYSON AVENUE NE, ATLANTA, GA 30317

ARCHITECTURE MATT WALSH - AIA NCARBCONSTRUCTION ORION CONSTRUCTION LLC

ARCHITECTURE

JORDAN WILLIAMS, PLExUS R+D

CONSTRUCTION

BERT THOMPSON, FOREST BROOK PROPERTIES

STRUCTURAL ENgINEERINg

ALLEN MORRIS, STABILITY ENGINEERING

CAbINETRy

RYAN MATHERN

116 MODERN ATLANTA

peRkins+Will ARCHITECTURE

PERKINS+WILL

1315 Peachtree Street, the home of Perkins + Will Atlanta

The Perkins+Will Atlanta office has the highest LEED

certification for any building in the Northern hemisphere

and is the second greenest building in the world. It has

been certified LEED Platinum with 95 points. This is a

living lab reflecting the firm’s environmental commitment

and pursuit of design excellence.

1315 was chosen over other sites because Perkins+Will

wanted to reuse an existing building. (In fact, the only

building to beat it in terms of green design was a new

structure in Australia without the challenge of renova-

tion.) Existing buildings currently emit 49% of carbon

dioxide, the most common greenhouse gas, into the

atmosphere. So converting an existing structure into

an energy-efficient building is a relevant challenge for

contemporary architects.

The building was deconstructed, revealing the concrete

structure and diverting over 80% of the furnishings,

finishes and demolition debris from landfills. The materi-

als were matched for reuse with local needs, resulting in

donations to over 20 non-profit organizations.

The building is a snapshot of how current technolo-

gies can be used to achieve the highest LEED Platinum

Certification rating and help reduce toxic materials from

building products. It is also a living example of how de-

sign can continue to contribute to the healthy growth and

development of work, employees and community.

In March 2012, the Perkins + Will offices in Atlanta

received LEED Platinum status with a perfect score of 95,

making it the current record-holder through the USGBC.

This score is a testament to the architecture firm’s knowl-

edge and experience designing sustainable buildings.

Having achieved energy reductions of 58% compared to

baseline designs, this modern office building is also a

renovation and a high performance living laboratory.

1315 PEACHTREE ST NE, ATLANTA, GA 30309

Modern Home Tour

117MODERN ATLANTA

The house is based on a mid-century modern aesthetic.

The biggest difference is that this is a vertical house on

a sloping lot. The design is essentially planes of material

(glass, stacked stone and stucco) arranged in an asym-

metrical layout. The lot is in an extremely dense and

diverse neighborhood, and while the house will have a

distinct appearance relative to its neighbors, it is broken

down into smaller pieces to disguise its overall size and

minimize its visual presence.

Inside, the house is essentially a loft-style space, with

an open floor plan on the main level. The second floor is

divided into three bedrooms including the master suite.

A unique feature of the master suite is the closet, which

is entered by either the master bedroom proper or the

master bath. Another unique feature is the fairly large

roof deck garden, which will allow for spectacular views

of the Atlanta skyline and Piedmont Park, while still

creating a private setting for the homeowners.

9tH stReet292 9TH STREET, ATLANTA, GA 30309

ARCHITECTURE JOEL KELLY DESIGNCONSTRUCTION MATT HOOTS, THE HOOTS GROUP

118 MODERN ATLANTA

119MODERN ATLANTA

After developing green strategies for clients over the

years, Cara Cummins and Jose Tavel wanted to apply the

techniques they’d learned to their new home and studio

in the Old Fourth Ward. They achieved a LEED Silver

rating and a Home Energy Rating System (HERS) rating of

66, which is 19% more energy efficient than the standard

Energy Star home and 34% more energy efficient than

the typical home.

As one of their sustainable construction techniques, they

used panels that were made in a factory 12 miles from

the site and a sheathing product made in Georgia. By uti-

lizing 2x6 exterior wall framing, they were able to provide

a deeper cavity for sprayed insulation as well as a wall

system that produced less wood waste and required less

labor for construction.

The high performance windows are strategically placed

for optimal day lighting and cross ventilation. The house

has a geothermal mechanical system that employs five

wells at a depth of 250 feet each, in lieu of the typical

outdoor compressor units. The geothermal loop is also

linked to the hot water heating system to boost its

efficiency. In hot weather they can pull cool air from the

courtyard, through the stairwell and out the roof. The roof

is designed for a future planted system and is prewired

for a photovoltaic array. The tile in the guest and master

bathroom floors and walls contain 20% recycled content,

made in Tennessee. The concrete tile is manufactured

locally in Atlanta by DEx industries. The wood decking

is bamboo, and the rooftop terrace tile is composed of

recycled tires. The landscape materials were selected for

each particular zone of the property and for their drought

tolerance.

The second-level studio was designed for the north light,

similar to traditional painting studios, allowing Cara

and Jose to work with even natural lighting throughout

the day. They designed several custom furniture pieces,

including the sofa, beds, tables, lighting, glass walls,

decorative screens and millwork—examples of their

ongoing design explorations with local craftsmen.

765 EAST AVENUE NE, ATLANTA, GA 30312

ARCHITECTURE & CONSTRUCTION

TAC STUDIOS

east aVenue

120 MODERN ATLANTA

neWcomeROnly the seventh home in the state to receive LEED

Platinum certification, this project incorporates a con-

temporary appeal but remains sensitive to the architec-

tural context of its historic, in-town neighborhood. The

design includes a deceptively compact façade for the

2,632-square-foot home, blending strong modern lines

with the traditional gabled form and large front porch

indicative of the neighborhood’s cottages.

The side elevation reveals its shotgun-style length—an-

other Southern tradition—allowing for natural passive

ventilation. Tennessee fieldstone, stucco and white

clapboard siding echo the native and traditional materi-

als used in many of Athens’ oldest homes. “As much

as I love modern aesthetics, we didn’t want to build

something alien to the neighborhood,” says Newcomer.

“So I borrowed signature characteristics of the cottage

vernacular to envelope a contemporary living space that

fits our lifestyle.” Locally sourced, reclaimed heart pine

floors and salvaged wood from an old shed on the lot

further connect the house to its site.

Due to its numerous green features, utility bills are

roughly the same as that of a home a third of its size.

The pre-tour Athens homes are open

Saturday, June 2, 10 am – 4pm.

150 PULASKI HEIGHTS, ATHENS, GA 30601

Modern Home Tour

ARCHITECTURE

LORI BORK NEWCOMER

Athens

121

The 3200 square foot home was designed for the

builder and his young family. Organized around a central

courtyard and raised deck, the position of the house takes

advantage of its privacy and views into the wooded areas

of the large, in-town lot.

The main living wing was placed with long north and

south-facing exposures for optimal solar orientation and

generous daylighting. North-facing clerestory windows

bring soft diffuse light deep into the space while a bank

of south-facing sliding glass patio doors bring warmth

into the kitchen during winter months and provide a

strong indoor/outdoor connection between the kitchen

and courtyard.

Although the living spaces are visually open, the rooms

are delineated by slight changes in floor level. A bank of

custom cabinets, for example, provides the division be-

tween the sunken living room and the higher dining and

kitchen zone. The front entry is designed as a gallery, its

long wall washed with indirect natural light and recessed

lights for highlighting artwork.

The exterior materials of the home consist of concrete

block and painted fiber cement siding for their affordabil-

ity and durability. Accents of stained cypress siding and a

tigerwood deck add warmth to the palate. Building prac-

tices were geared toward energy efficiency and indoor

air quality, including spray-foam insulation in the ceilings

and 2x6 walls, dual flush toilets, Energy Star appliances,

strategically placed LED lighting, low-VOC paint, and a

high-efficiency heat pump and gas furnace.

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Galvanized Square Sign PostsUsed as structural support for shelter. Allows for easy connection on multiple planes.The material is sustainable, affordable, and a common element of the streetscape.

Used for bench seat.Perforated metal is durable, weather-resistant, and affordable.Aesthetically, it compliments the sign post structure.

Possible modifications and additions can be made to provide more shade and enclosure, as dictated by the specific site.

Used for the roof. Corrugated metal is a sustainable and reflective roofing material. By reflecting more of the sun’s rays, it decreases the amount of heat transferred into the shelter.

Acts as a back for the bench as well as a spatial barrier between the street and the shelter, without blocking views.

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a collaborative design studio focused on

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Salvador Dali Museum St. Petersburg, Florida

IN LOVING MEMORY OFJeremy michael smith

1984-2012

138 MODERN ATLANTA