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Show some ID
3 brand-savvy spaces
From Paris: Maison & Objet
Daoust Lestage’s Montreal vision

Including IDC’s Dimensions



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Journal of Record of the Interior Designers of Canada


n COVER — 22
LinX, a student meeting place at Humber
College, created by Bortolotto Design.
Photo by Tom Arban


Taking it all in at Maison & Objet’s
FEATURES now! design à vivre.
By Michael Totzke

Branded DOUBLE VISION — 39

On Montreal’s Place des festivals, two
X” MARKS THe SPOT — 22 slim volumes by Daoust Lestage – each
How Bortolotto Design made LinX – a containing a restaurant – blur the
meeting place for undergrads at Toronto’s distinction between inside and out.
Humber College – “X”-traordinarily By Rhys Phillips
memorable. By Leslie C. Smith
NICe ’N eASy — 27
For the latest HedKandi hair salon in INSIDE — 12 33
Calgary, ORDA develops a design that goes
with the flow of the stylists. WHAT’S UP — 14
By Gail Jansen
WHO’S WHO — 44
Jump.ca aims to draw the “non-techie” into LAST WORD — 48
the sometimes intimidating world of Bubbly personality
wireless devices. The light and lively Reactiv Pictures’ distinctive logo – a
design of the company’s latest location in bubbling test tube – informs Lux Design’s
Regina – by Vancouver-based SSDG effervescent reimagining of its Toronto
Interiors – does just that. headquarters.
Following page 18
By Gail Jansen By Katharine Vansittart
May/June 2011
VOL.48 NO.3

Martin Spreer
Michael Totzke
Deputy Editor
Peter Sobchak
Associate Editors
Janet Collins, David Lasker,
Rhys Phillips, Leslie C. Smith
Contributing Writers
Gail Jansen, Katharine Vansittart
Art Director
Lisa Zambri
Advertising Sales
Circulation Manager
Beata Olechnowicz 416-442-5600, ext. 3543
Reader Services
Liz Callaghan
Jessica Jubb 416-510-5194
Senior Publisher
Create Ambiance with QuARTz Tom Arkell
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(877) 226-4255 Telephone 416-442-5600
Facsimile 416-510-5140

Canadian Interiors magazine is published by

BIG Magazines LP, a division of Glacier BIG Holdings Company Ltd.
In Canada, contact (403 )229.1900
Gallery Walls

Tel: 416-442-5600, Fax: 416-510-6875

e-mail: info@canadianinteriors.com
www.WoodOneUS.com website: www.canadianinteriors.com
Canadian Interiors publishes seven issues, plus a source guide, per year.
Printed in Canada. The content of this publication is the property
of Canadian Interiors and cannot be reproduced without
permission from the publisher.
Subscription rates
Canada $37.95 per year; plastic wrapped $40.95 per year (plus taxes) U.S.A.
$70.95 US per year, Overseas $96.95 US per year.
Back issues
Back copies are available for $10 for delivery in Canada,
$15 US for delivery in U.S.A. and $20 overseas. Please send payment to
Canadian Interiors, 12 Concorde Place, Suite 800, Toronto, ON M3C 4J2
or order online www.canadianinteriors.com
For subscription and back issues inquiries please call
416-442-5600 ext.3543, e-mail: circulation@canadianinteriors.com,
or go to our website at: www.canadianinteriors.com
For information on Canadian Interiors on newsstands in Canada,
call 905-619-6565
Canadian Interiors is indexed in the Canadian Magazine Index by
Micromedia ProQuest Company, Toronto (www.micromedia.com)
and National Archive Publishing Company, Ann Arbor, Michigan

Member of Canadian Business Press

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ISSN 1923-3329 (Online) ISSN 0008 - 3887 (Print)

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Identify yourself
“There’s no big mystery about branding,” writes CI associate editor Leslie C. Smith in an email, ”though it may
seem that way to some.” (Count me among the “some,” which is why I turned to Leslie – my confrère, friend and
frequent sounding board, to clarify the concept for me; I know what it is, but have trouble defining it.) “Your
brand is simply your company’s personality: who you are, where you are, what you wear, what you do for a
living, and how you look at life itself. Think of it as a kind of corporate eHarmony profile.” Got it. Thanks, Leslie.
In this issue, we feature three brand-savvy spaces, the first of which – I’m pleased to report – Leslie herself investigated (”‘X‘ marks
the spot,” page 22). She shows us how Toronto-based Bortolotto Design, in transforming a decrepit former workshop into a lively
meeting place for Humber College students, built an exciting brand around it – with the letter “X” playing a starring role.
The other two spaces were investigated by Saskatchewan writer Gail Jansen, a new contributor to this magazine. (Welcome, Gail.)
First up is the latest HedKandi hair salon in Calgary, designed by ORDA (“Nice ‘n easy,” page 27). As befits a business “known as much
for its creative style as for its creative stylists,” as Gail explains, the salon is streamlined and sophisticated, with artwork adding that
extra zing. Next up is the newest Regina retail space of Jump.ca – which specializes in wireless devices – designed by Vancouver’s SSDG
Interiors (“Jump right in,” page 30). The company’s branding strategy is to lighten the “techie” feel of its offerings in order to attract
those intimidated by the often impenetrable world of technology – and the design follows suit, both visually and physically drawing
customers in.
A few weeks ago, I decided it was time to “rebrand” myself, so to speak, by replacing the illustration that graced this column with a
portrait. And so I put myself in the capable hands of another CI associate editor, David Lasker, who produces our Who’s Who section.
Thanks, David, for making the process – mortifying to me in the past – painless and even enjoyable. I’m feeling brand-new. c I

Michael Totzke mtotzke@canadianinteriors.com

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What’s Up

draw, of course, is NeoCon, the But the main attraction is the to work in tandem with other
New at National Exposition of Con- awesome array of products elements in a design scheme.
tract Furnishings, now in its and resources – for corporate, Celebrating its 25th anniver-
NeoCon 43rd year. hospitality, healthcare, retail, sary, Crossville has also joined
North America’s largest government, institutional and with Benjamin Moore to offer
design exposition and confer- residential interiors – from paints selected with Color by
The third week in June, all ence for commercial interiors, more than 700 showrooms and Numbers in mind.
roads lead to the magnificent, NeoCon provides 40,000-plus exhibitors. The following four Karastan Contract, a brand
historic Merchandise Mart, architecture and design products are making their of The Mohawk Group, cap-
spanning two entire city professionals with over 140 debut at NeoCon 2011. tures the exotic allure of the
blocks on the bank of the CEU-accredited seminars and From Amtico comes Urban Mediterranean with Moroccan,
Chicago River, where the Loop association forums, along with Marble, low-VOC, resilient a new broadloom collection.
meets River North. The big top-notch keynote speakers. vinyl flooring made with Moroccan’s three patterns –
ceramic finish, urethane Morocco III, Temera and
Clockwise from left coating and beveled edges. It’s Meknes, available in a palette
The Merchandise Mart, available in a variety of plank, of 18 colours – bring Old
home to NeoCon;
Urban Marble resilient
square and rectangular World luxury to contemporary
vinyl flooring, from formats, including an updated interiors.
Amtico; Karastan random plank that creates a Unika Vaev, the ICF Group’s
Contract’s Moroccan
cool, clean canvas for modern textile division, is launching
broadloom; Color by
Numbers wall-tile furnishings. Chromatica, a dramatic
program, from Crossville in introducing collection focussed on colour.
Crossville; Effervesce Color by Numbers, a wall-tile It includes two styles. Effer-
and NeoGeo, the two
styles in Unika Vaev’s program featuring 16 neutral vesce, featuring a reflective
Chromatica textile and saturated colours created yarn, sparkles like glass tile
collection. mosaic; it comes in 12
colourways, all named
after “twinkly” drinks
(such as grape soda
and cherry cola).
NeoGeo is a new take
on “geometric”; 10
colours make up the
palette, with different
levels of optical
NeoCon 2011 runs at
Chicago’s Merchandise
Mart from June 13 to 15.


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ABET Wood Ad 1/2 Page 4.5x11.5 Canadian Interiors.indd 1 5/4/11 1:00 PM

Alfresco is Steve Pellow, who has 20-plus
years experience working in all
with areas of metal fabrication, from
fasteners and electric compo-
Steve&James nents to furniture; James is
James Casey, who has been
designing products for residen-
Toronto-based Steve&James has tial and contract markets for
introduced its 2011 outdoor over eight years.
furniture collection. Who are In the spring of 2010 – after
Steve and James, you ask? Steve many years of meetings for
drinks, shop talk and the
occasional bad joke – the two
founded Steve&James, realizing
that “James could design things
and Steve could get them made.”
Says James, “We didn’t have
any designs, factories or
potential customers; we just
wanted to work on a project
together. We set ourselves
some hilariously ambitious

goals, but most importantly, we available in dining and lounge
pledged never to sacrifice sets; Tony, a woven chair that

To the
quality to pad our margins, and comes with or without arms;
the whole thing had to be fun.” Vicky, a sofa lounge set; and
It has been fun, and things Zoe, a collection of bistro
have happened fast. “We had chairs, tables and bar stools.

our official launch last Sep- The exception is Dorothy, a
tember at the Casual Market in line that includes a lounge set,
Chicago, which led to a chaise longue and dining set.
warehouse and distribution “Dorothy, she’s my grandma,”

deal with a company in James explains. ”She’s the
L.A.,” says James. “We’ve now best, so she gets a collection
delivered product to retailers in her name.”

your own
in Taiwan, France, the u.S. and For more information
Canada, and it looks like we’ll about the 2011 Steve&James
be spreading into South and collection, visit
Central America shortly. Next wearesteveandjames.com.

year, europe.”
Five of the six products in
the 2011 collection are named
after members of the

Steve&James team: Amanda, a
bistro chair; Dean, a chair

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in dining and lounge sets.
Opposite top Amanda, a bistro Our mistake
chair. Opposite centre Tony, In our January/February issue,

a woven chair that comes
in our feature “A light touch”
with or without arms.
Opposite bottom Dorothy, a (page 25), we misspelled
line including a chaise longue,
Designer Rewards Program
the name of Merike Reigo,
lounge set and dining set. principal, with Stephen Bauer,
of Reigo & Bauer. Our apologies crateandbarrel.ca/designer-rewards
to Merike, who now goes by
the name Merike Bauer.

D3881_Canadian_Interiors_DW.indd 1 4/26/11 12:50 PM

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features On a professional note… 4
Sur une note professionnelle… 5
False Economy 6
Think cutting your fees during an economic downturn is a smart On your behalf… 10
business move? Think again. Vous croyez que réduire les tarifs lors de turbu-
En votre nom… 11
lences économiques est une bonne idée en affaires? Détrompez-vous.

In conversation with… 16
New Curriculum, New Requirements 12 En conversation avec… 17
Important changes are on the horizon for the interior design
profession in Canada. Des changements importants pour la profession
de designer d’intérieur au Canada sont à prévoir Industry members/Membres de l’industrie 18

dimensions team idc staff idc board of management

Publisher: Susan Wiggins, Executive Director (BC) David Hanson, President

Susan Wiggins, Executive Director, IDC Irma Kemp, Executive Assistant (AB) Donna Assaly, President Elect
swiggins@idcanada.org Sue Gravelle, Director, Professional Development (BC) Jenny Mueller-Garbutt, Past President
Sarah Brown, Communications Coordinator (MB) Stephen Lamoureux, VP Finance
Editor: Julia Salerno, Communications Coordinator (ON) David Gibbons, Secretary/Director At Large
Penny Tomlin Jenn Taggart, Manager, Marketing (AB) Adele Bonetti, Director
penny.tomlin@gmail.com Debora Abreu, Marketing Coordinator (BC) Ada Bonini, Director
Marc Sintes, Marketing Coordinator (SK) Aandra Currie Shearer, Director
Editorial Advisory Board (ON) Clinton Hummel, Director
(MB) Lise Boucher Dimensions is the official magazine of (NB) Monique Leger, Director
(SK) David Chu IDC (Interior Designers of Canada) © 2010 (NS) Carolyn Wood, Director
(BC) Kate Holmes (MB) Michelle Du, Director At Large
(ON) Ron Hughes Interior Designers of Canada (NB) Jessica Gozdzierski, Director, Intern/Provisional
(ON) Johane Lefrançois-Deignan C536–43 Hanna Avenue (ON) Ron Hughes, Director, Industry
(NS) Carolyn Maguire Toronto ON M6K 1X1 (AB) Janice Smith, Director, Education
t 416.649.4425 (QC) Denis Chouinard, Provisional Director
tf 877.443.4425 (ON) Trevor Kruse, IIDEX/NeoCon Canada Liaison
canadian interiors team f 416.921.3660
e dimensions@idcanada.org
Publisher: w idcanada.org
Martin Spreer, Publisher, Canadian Interiors

Deputy Editor:
Peter Sobchak, Canadian Interiors

Art Director:
Lisa Zambri, Canadian Interiors

French translation:
Pierre-Éric Villeneuve

www.idcanada.org  volume 2, 2011 n dimensions 3

5/11 9:29 AM
On a professional note…
In the past few months we’ve felt both joy and frustration over the future of our profession, the
result of some good and not so good news. The good news has encouraged us, while the other has
strengthened our resolve and rallied us to fulfill our mandate to advocate on behalf of the interior
design profession.

In mid-February, we attended the International Federation of Interior Architects/Designers (IFI)

Global Symposium to explore the knowledge, value, relevance, responsibility and identity of
interior design. Two days of discussion among 100 thought-leaders from 20 countries resulted in a
unanimous declaration that affects the fundamental understanding and shaping of our practice, its
education and research. This declaration could actually have an impact on the public’s understanding
of our profession, were it to be adopted worldwide. For us, it was a historic moment. It felt good.

But our euphoria was not to last. Two weeks later, we learned that a lobby group in the U.S. known
as the Interior Design Protection Council (IDPC), was seeking donations from some of our
members to help fund their efforts “to keep interior design free.” According to the group’s email
solicitation, “A contribution to IDPC is a contribution to the movement for economic liberty—
the fight to restore the right to earn an honest living.” IDPC’s mandate is to oppose any efforts
for Titles or Practice Acts in the U.S. They believe, “ASID simply wants to protect themselves from
competition, by passing protectionist laws that only benefit themselves.” A delve into their web
site reveals a plethora of false information regarding our profession and the related organizations that
we work with, such as NCIDQ.

In contrast to this news was an announcement a few days later by IIDA that an appeals court in
Florida had found the interior design licence requirement to be constitutional. In his ruling, the
judge stated, “The individual licensing requirement advances the state’s legitimate interest in 
promoting the health and safety of occupants of buildings.” This is indeed a huge victory for the
profession and we applaud all those who were involved in its successful outcome.

We need to redouble our efforts to ensure the public understands the profession of interior design.
By the time you read this column, IDC’s board will have met and developed a three-year strategic
plan with this goal in mind. Imagine 18 board members starting the conversation with “what if…?”
followed by in-depth discussions and a concrete action plan for achieving positive outcomes for
our profession. n

D a v i d Hanson Susan Wiggins

P re s i dent/ Président Executive Director/ Directrice

IFI DFIE Interiors Declaration establishes the essential foundations and their advancement
for Interior Architecture/Design worldwide. The ideas contained in the Declaration provide
clear goals for and affect the fundamental understanding and shaping of our practice, its
education and research, and for the outcomes required of our built environment in
support of humanity, society and culture. You can read the full declaration at

4 dimensions n volume 2, 2011  www.idcanada.org

Sur une note professionnelle…
Dans les mois qui viennent de s’écouler, nous avons éprouvé autant de joies que de frustrations en
ce qui concerne le futur de notre profession, en raison des bonnes et des mauvaises nouvelles que nous
avons eues. Les bonnes nouvelles nous ont encouragés; les moins bonnes ont renforcé nos intentions et
nous ont permis de se retrouver pour remplir notre mandat de promotion de la profession du design
À la mi-février, nous avons participé au Symposium global de l’IFI ( International Federation
of Interior Designers and Architects) dans le but d’explorer le savoir, la valeur, la pertinence, la
responsabilité et l’identité du design d’intérieur.  Deux jours intenses de discussions avec une centaine
de leaders en provenance de 20 pays qui ont culminé dans une déclaration unanime. Une déclaration
qui affecte la compréhension fondamentale et la formation de notre pratique, son éducation et la
recherche. Elle pourrait même avoir un impact sur la compréhension de notre profession de la part du
public, si elle était acceptée dans le monde entier. Pour nous, ce fut un moment historique, une pure
sensation de bonheur.
Cette euphorie n’allait hélas pas durer. Deux semaines plus tard, nous apprenions qu’un groupe
de lobbyistes américains, connu sous l’enseigne de l’IDPC (Interior Design Protection Council ),
cherchait à obtenir des dons auprès de certains de nos membres afin d’aider le financement de ses
efforts pour « maintenir le design d’intérieur libre. » Selon le message de sollicitation du groupe, envoyé
par courriel à plusieurs personnes, « une contribution à l’IDPC est une contribution au mouvement de
liberté économique; une lutte pour restaurer ce droit de gagner honnêtement sa vie». Le mandat de
l’IDPC est de s’opposer à tous les titres et actes de pratique aux États-Unis.

Il croit que « l’ASID souhaite simplement se protéger contre la compétition, en passant des lois
protectionnistes qui ne bénéficient qu’à eux-mêmes». Une visite du site Internet de ce groupe de
lobbyistes révèle une somme d’informations fausses concernant notre profession et les organismes avec
lesquels nous travaillons, comme le NCIDQ (National Council for Interior Design Qualifications).
À l’opposé de cette nouvelle, l’IIDA nous a informés il y a quelques jours qu’une cour d’appel de
Floride avait jugé que les exigences d’une licence en design d’intérieur étaient constitutionnelles. Lors
de son jugement, le juge a déclaré : « L’exigence d’une licence individuelle avance l’intérêt légitime
de l’État dans la promotion de la santé et de la sécurité des occupants des bâtiments. » Cela est une
victoire importante pour la profession. Nous félicitons ceux et celles impliqués dans cette lutte et
dans sa réussite.

Nous devons redoubler nos efforts pour s’assurer que le public comprenne la profession du design
d’intérieur. Au moment où vous lirez cet article, le conseil d’administration des DIC se sera réuni dans
le but de développer un plan stratégique de trois ans avec cet objectif en tête. Imaginez 18 membres du
conseil qui débutent la conversation avec « Et si? », suivi de discussions profondes et d’un plan d’action
pour obtenir des résultats positifs pour notre profession. n

D a v i d H a nson Susan Wiggins

P re s i d e n t/ Président Executive Director/ Directrice
La déclaration de l’IFI DFIE établit les fondations essentielles et ses avancées pour le design
d’intérieur et d’architecture à travers le monde. Les idées présentées dans la déclaration
fournissent des objectifs clairs. Elles conditionnent la compréhension fondamentale et la
formation de notre pratique, l’éducation et la recherche, ainsi que les résultats nécessaires
pour notre environnement bâti dans le soutien de l’humanité, de la société et de la culture.
Vous pouvez lire la déclaration au complet, sur Internet, à l’adresse suivante :

www.idcanada.org  volume 2, 2011 n dimensions 5

False Econo
Think cutting your fees during an economic downturn is a smart business move? Think again.
Vous croyez que réduire les tarifs lors de turbulences économiques est une bonne idée en affaires?
By Leslie C. Smith

ith any luck, we’ve turned the corner and the vec un peu de chance, la grande récession que nous
Great Recession is fast receding in our rear-view venons de traverser disparaîtra progressivement de
mirror. But before waving a final goodbye, let’s votre champ de vision. Toutefois, avant de lui faire vos
take stock of lessons learned—especially as they apply to derniers adieux, revoyons de plus près les leçons apprises,
the idea that a competitive marketplace demands surtout lorsqu’elles s’appliquent à cette notion répandue que
cut-throat rate reductions. les demandes d’un marché compétitif impliquent des
“In the local market, everybody’s really hungry and réductions de tarifs à couper le souffle.
cutting fees like crazy,” said David Thom in an article Dans un article publié dans l’édition du mois de janvier
published in January’s issue of bcbusinessonline. The de bcbusinessonline, David Thom affirme que « sur le marché
renowned architect and managing director of IBI local, tout le monde a faim et on coupe les tarifs comme des
Group in Vancouver deemed this “a foolish move.” He fous. » L’architecte reconnu et directeur de IBI Group, à
suggests, for example, if an interior designer were to Vancouver, voit cette attitude comme une « action insen-
lower his or her rate by 10 per cent, the client might sée. » Il suggère, par exemple, que si un designer d’intérieur
end up saving as little as half of one per cent of the doit baisser ses prix de 10 %, le client épargnera moins de 0,
project’s total cost. Would such a tiny saving represent 5 % de la totalité des coûts pour le projet. Une épargne aussi
any real value to a client? négligeable représente-t-elle une valeur certaine pour un
That doesn’t mean, however, that even major firms client?
such as IBI won’t scout around for the most cost-efficient Par ailleurs, cela ne veut pas dire que des firmes impor-
way of doing business or are unwilling to seek out tantes comme IBI ne chercheront pas à trouver les manières
cost-effective measures to counterbalance tighter times. les plus économiques de faire des affaires, ou qu’elles ne
“It’s not a case of ‘our standard rate is X, take it or leave seront pas enclines à envisager des mesures plus radicales

6 dimensions n volume 2, 2011 www.idcanada.org

it.’ Business isn’t like that,” says Willem Berends, senior
project manager at IBI Group’s Toronto office. “We
pour contrebalancer les temps plus difficiles. « Il n’est
pas question de dire --- Nos standards sont les suivants,
c’est à prendre ou à laisser !» Willem Berends, directeur
de projets dans les bureaux torontois de la firme IBI
Group, dit que « les affaires ne sont pas comme cela.
Nous devons être flexibles, regarder le travail et ajuster
nos tarifs en conséquence. »
Son associée Milena Milicevic est aussi critique
devant les plaintes habituelles de ceux qui offrent les
have to be flexible, look at the job, and set our fees services les plus créatifs, ici comme ailleurs, et disent
accordingly.” que les clients « nous voient comme une commodité,
Associate Milena Milicevic interjects the familiar comme une autre partie du casse-tête plutôt que
lament of creative service providers everywhere, saying comme une entité qui donne de la valeur au processus.
that clients often “see us as a commodity…just another Lorsque qu’il s’agit d’une commodité, les gens
piece of the puzzle rather than bringing value to the magasinent pour le meilleur prix. »
process. If you’re a commodity, people shop around for L’éducation, du côté des créateurs et des clients,
the best price.” semble essentielle pour éviter une telle impasse. Il y a
Education, on both the client and creative side, deux ans, un autre associé senior, Erik Hepner, a
appears key to avoiding this particular pitfall. “About déclaré : « ARIDO (Association of Registered Interior
four years ago,” senior associate Erik Hepner says, Designers of Ontario) a produit une liste des types de
“ARIDO (Association of Registered Interior Designers services composée d’environ une centaine de tâches
of Ontario) produced a typical scope-of-services différentes, dans le but d’aider les clients à bien définir
checklist of about 100 different tasks making up a leurs projets pour une DDP. Il s’agit d’un document
typical project, with the goal of helping clients define extraordinaire qui n’est pas beaucoup utilisé. »
a project for an RFP. It’s a great document but it just Hepner trouve ce genre de chose déplorable puisque
isn’t used that much.” les soumissions s’inspirent de la complexité à la base
This, he feels, is a pity, because bids are based on the d’un projet. Des spécifications mal définies et une
stated complexity of a project. Ill-defined specifications compréhension floue de ce que les projets impliquent
and a hazy understanding of all that’s involved may peuvent donner comme résultat que des compagnies ay-
result in firms of radically dissimilar capabilities and ant des capacités et des expériences diverses et opposées
experience quoting on the same project. And lack of feront une soumission pour le même projet. De
a focused bidding package can lead some designers to surcroît, un manque de rigueur dans les dossiers de
optimistically understate their fee structure, a move soumission peut mener certains designers à sous-estimer
guaranteed to end in client frustration, as extra costs leurs dispositions tarifaires. Ce genre d’attitude
crop up in the course of the project. provoque le plus souvent des conflits et les clients en
Then there is the optics to consider. Does reducing ressortent frustrés, surtout lorsque des coûts supplé-
your fee make you look competitive or merely cut-rate? mentaires s’imposent durant la réalisation du projet.
A phone survey of some of Canada’s best-known Et un autre facteur doit être considéré. Est-ce que la
design firms agrees the latter outcome is more likely. Lyn réduction de vos tarifs vous rend plus compétitif ou
Van Tassel, Associate at TOSS Solutions, Saint John, says simplement un agent éxécutant?
“We believe in the value of our service. In our experience Un sondage par téléphone auprès des firmes de
clients are more focused on results for an appropriate fee design les plus connues au Canada nous informe que ce
rather than a low fee.” dernier est le plus probable. Lyn Van Tassel, une
Neal Sims, director of finance at Vancouver’s Smart associée de la firme TOSS Solutions, à Saint John,
Design Group, says it helps in tough times to both affirme : « Nous croyons à la valeur de notre service.
diversify and have a niche in which you’ve built a Selon notre expérience, les clients sont plus intéressés
strong reputation. As a general rule, “cost-cutters come par les résultats associés à des tarifs appropriés qu’à des
across as too desperate, and they put themselves in a tarifs économiques. »
position to underperform. Underperformance can be Neal Sims, directeur des finances chez la firme Smart
more damaging to your business than missing out on a Design Group de Vancouver, pense que « cela aide, dans les
few contracts.” périodes difficiles, de diversifier et d’avoir une créneau pour
You are also doing yourself no favours if your goal is se faire une forte réputation. De manière générale, les gens
repeat business, says Kara MacGregor, principal at MAC qui coupent leurs tarifs ont l’air désespérés. Ils se placent
Interior Design, Halifax. “You’ve penned yourself in a souvent dans une position de performance minimum. La
corner and it becomes really challenging. The next time faible performance peut nuire à votre entreprise plus que
you do a job with that client, you’re going to have to find d’être obligé de renoncer à quelques contrats. »

www.idcanada.org volume 2, 2011 n dimensions 7

a way to bring more value to the project if you want a «Vous ne vous faites aucune faveur si votre but est de
higher fee.” faire les mêmes affaires à répétition, dit Kara Mac-
With respect to commoditization, Joe Pettipas, senior Gregor, présidente de la firme MAC Interior Design, à
vice president at HOK, Calgary, comments, “Professional Halifax. Vous vous êtes placés dans un carcan et cela
services are not like erasers. Strategic thinking, knowl- devient un défi. La prochaine fois que vous accepterez un
edge, creativity—we bring a lot of value to the table on contrat avec un client, vous devrez trouver une manière de
each project. Whereas once you figure out how to make donner plus de valeur au projet si vous désirez une ré-
an eraser, you can make a billion of them, all the same.” munération plus élevée.»
On the question of cutting rates in difficult times, En ce qui concerne la réification, Joe Pettipas,
Pettipas says, “Our approach has always been to ensure vice-président chez HOK, à Calgary, insiste sur le fait
that we get paid appropriate to the value the client is que « les services professionnels ne sont pas des gommes
seeking. Have we dropped our fees? No. That’s a false à effacer. Qu’il s’agisse de la réflexion stratégique, du
economy. You pay peanuts, you get monkeys. I’d rather savoir ou de la créativité, nous apportons beaucoup de
have two appropriately paid-for projects than 10 I’m valeur à chacun des projets, tandis qu’une fois que vous
losing money on. You don’t make it up in volume.” êtes parvenu à faire une gomme à effacer, vous pouvez
Colleagues who drop their prices to compete must be en faire des millions, toutes identiques.»
clear with the client about the lesser product they’re Sur la question de la réduction des tarifs lors des
supplying. Otherwise, “that eventually catches up with périodes difficiles, Pettipas est clair : « Notre approche a
you. No matter how good a spin-doctor you are, if you toujours été de nous assurer assurer d’être payé propor-
can’t provide what the client is expecting, you do tionnellement à la valeur recherchée par le client.
yourself, your client, and your industry a disservice.” Avons-nous baissé nos tarifs ? Non. Cela est une
A somewhat unexpected, last word on the subject économie de bouts de chandelles. Le produit final
comes from Atlanta-based Dave Burstein, vice president correspond à ce que vous payez. Je préfère avoir deux
for the architecture/engineering support firm PSMJ projets rondement financés qu’une dizaine de contrats
Resources. “In January, we surveyed firms that had raised où je perds de l’argent. La quantité ne fait pas le poids. »
fees during the recession. We found that 86 per cent of Les collègues qui baissent leurs tarifs pour devenir
them had no observable loss of business. Of the 14 per compétitifs doivent être clairs avec le client au sujet des
cent that did, none observed more than a 10 per cent produits de moins bonne qualité qu’ils utilisent.
reduction in revenues. What this really says is fees in the Autrement dit, « ce genre d’attitude vous rattrape
A&E and interior design industry are much more rapidement. Cela ne fait aucune différence que vous
inelastic than most people think. Pricing doesn’t have soyez un bon magicien, si vous ne livrez pas ce que le
that much of an impact on sales.” client espère, vous nuisez à votre client, à votre industrie
So, is cutting fees during tough economic times a et à vous-même. »
smart move? The collective wisdom says no. And while Les derniers mots, et les plus surprenants, sur le sujet
the question might seem somewhat academic now, given sont bien ceux de Dave Burstein, vice-président de la
the way the industry is rebounding across Canada, it firme de soutien en architecture et en ingénierie PSMJ
would be wise to keep this in mind the next time we’re Resources, basée à Atlanta. « En janvier, nous avons fait
faced with a bear market. n des sondages auprès de firmes qui ont augmenté leurs
tarifs durant la récession. Nous avons découvert que 86
% de celles-ci n’avaient eu aucune perte dans leurs
chiffres d’affaires.
Parmi les 14% des firmes qui disent avoir eu des
pertes, aucune n’a eu plus de 10% de réduction de
“Have we dropped revenus. Cela veut dire qu’en réalité, les tarifs dans les
industries de l’architecture, de l’ingénierie et du design
our fees? No. That’s a d’intérieur sont plus figés que la plupart des gens
pourraient le croire. Les prix n’ont pas beaucoup
false economy,” says d’impact sur les ventes. »
Joe Pettipas. Alors, est–ce que la réduction des tarifs lors de crises
économiques est une option à envisager? La sagesse
collective croit que non. Et même si cette question peut
nous paraître « académique », étant donné la manière
«Avons-nous baissé nos prix? dont l’industrie refait surface à travers le pays, il serait
Non. Cela est une économie avisé de nous en souvenir la prochaine fois que nous
ferons face à un marché en baisse. n
de bouts de chandelles»,
dit Joe Pettipas.

8 dimensions n volume 2, 2011 www.idcanada.org

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Enter your project to win one of the highest
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Soumettez votre projet pour l’opportunité
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de l'industrie du design d'intérieur.

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IDIBC submission deadline / IDate limite de ARIDO submission deadline / Date limite de IDA Submission deadline / IDA Date
soumission IDIBC : 05.25.2011 soumission ARIDO : 06.10.2011 limite de soumission : 08.15.2011

For complete submission details, visit:

Pour plus de détails sur comment
soumettre votre projet, visitez:
idibc.org/members/awards arido.ca/awards idalberta.ca
On your behalf…
When was the last time you were asked to complete a survey? Perhaps it was when you logged in to your
banking website, or opened an email from that online dating site you subscribe to. Perhaps you answered your
phone one day and had a polling agency ask your opinion about the state of politics in the country. Maybe the
pollster was seeking a simple “Yes” or “No” response to a single question; maybe you were required to give
more detailed responses to a series of questions, providing a snapshot of your experience as a citizen, consumer,
or member of a select group.

We’ve all undoubtedly been called upon to complete a survey. And depending on several factors, including
the time we have and the subject of the survey, we’ve likely complied with the request. Some surveys obviously
impact our lives more significantly than others. A survey that provides statistical information about our
profession can be very useful. A salary survey, for example, can help a business owner estimate the costs of
running her business, or it can show a designer who is seeking employment what the market will pay for her
skills. Similarly, demographic surveys provide important statistical information about project numbers and
dollar values that can help governments and industry clients with decision making.

From time to time we survey you, our members, to help identify your interests and needs, and to enable us to
move forward in our role as advocate for the interior design profession in Canada. A member survey recently
conducted by Studio Pinpoint was very informative. You can see the results via video on IDC’s website at

A salary survey of interior designers, architects and landscape architects, conducted by Research Dimensions
in December 2010, is now available for purchase. Please contact Research Dimensions’ Toronto office at
416-486-6161 or email info@researchdimensions.com for information on how to obtain your copy.

We thank those who participated in these and other industry surveys, and encourage everyone to do so in the
future. Your participation in surveys about the interior design profession is critically important. It’s the only
way we can obtain reliable data about the profession in Canada that will benefit you and your colleagues.
Please take the time to respond whenever one comes knocking. n

In the near future, Advocacy is one of the leading mandates of IDC. Our goal is to ensure that
Business Information Group, interior design practitioners are understood, utilized appropriately, and not
restricted in any way from carrying on business activities. You can continue to
publisher of this magazine, will be conducting a
monitor recent activities through the Association website at www.idcanada.org.
demographic survey of interior designers in Canada.
Your input is important and valued. Need us to act on your behalf? Let us know. We’re here to help.
Please take the time to complete this survey.

10 dimensions n volume 2, 2011  www.idcanada.org

En votre nom…
Vous souvenez-vous de la dernière fois où l’on vous a demandé de répondre à un sondage? Est-ce lorsque vous avez
regardé le site Internet de votre institution financière ou lorsque vous avez ouvert les courriels d’un site de rencontres
que vous fréquentez occasionnellement? Peut-être l’autre jour, lorsque vous avez répondu au téléphone et qu’une agence
de sondage intéressée par le scrutin a sollicité votre opinion sur la situation politique au pays? Peut-être que le sondeur
cherchait seulement la simple réponse «oui» ou «non», ou peut-être deviez-vous fournir des réponses plus détaillées à
une série de questions cherchant à dresser un portrait de votre expérience de citoyen, de consommateur ou de membre
d’un groupe particulier d’élite?

Nous avons tous répondu à un sondage à un moment donné. Selon les facteurs, le temps disponible et le type de
sondage, nous avons fait l’exercice sans broncher. Certains sondages ont un impact plus significatif sur notre vie
que d’autres.

Un sondage qui fournit de l’information statistique au sujet de notre profession peut aider, par exemple, une
propriétaire d’entreprise à évaluer les coûts de ses opérations. Il peut aussi renseigner une designer qui cherche de
l’emploi sur les salaires associés à son expertise. Dans la même veine, les sondages démographiques fournissent de
l’information importante au sujet du nombre de projets et de la valeur monétaire qui peut aider les gouvernements et
les clients de l’industrie à prendre des décisions.

Nous faisons à l’occasion des sondages auprès de vous, nos membres, pour mieux connaître vos intérêts et vos besoins et
pour nous permettre d’avancer dans notre rôle de promotion de la profession du design d’intérieur au Canada. Un
sondage récemment complété par Studio Pinpoint s’est avéré très informatif. Vous pouvez voir les résultats via une vidéo
sur le site Internet des DIC à www.idcanada.org.

Un sondage à propos des salaires des designers d’intérieur, des architectes et des architectes paysagistes, conçu par
Research Dimensions, en décembre 2010, est maintenant en vente. Veuillez contacter le bureau de
Research Dimensions, à Toronto, en composant le 416 486-6161 ou en écrivant un courriel à
info@researchdimensions.com pour savoir comment obtenir votre copie.

Nous tenons à remercier ceux et celles qui ont participé à ces sondages ou à d’autres sondages de l’industrie. Nous vous
encourageons à le faire dans le futur. Votre participation au sondage sur la profession du design d’intérieur est très
importante. C’est la seule manière de colliger l’information la plus valable au sujet de la profession au Canada. Cette
information sera avantageuse pour vous et vos collègues. Veuillez prendre le temps de répondre lorsqu’on
frappe à votre porte. n

La promotion est l’un des mandats primordiaux des DIC. Notre but est de
Dans un futur rapproché, l’entreprise
nous assurer que les praticiens du design d’intérieur sont compris,
Business Information Group, qui publie ce magazine,
employés adéquatement  et sans restriction dans leurs activités d’affaires.
fera un sondage démographique auprès des designers
Vous pouvez consulter nos réalisations les plus récentes grâce au site
d’intérieur du Canada. Votre contribution est
Internet de l’association à www.idcanada.org.
importante et sera appréciée.

Besoin de nous pour faire de la promotion en votre nom?

Veuillez prendre le temps de bien compléter ce sondage.
Faites-le-nous savoir. Nous sommes là pour vous aider.

www.idcanada.org  volume 2, 2011 n dimensions 11

New New
Curriculum, Requirements
Important changes are on the horizon for the interior design profession in Canada
Des changements importants pour la profession de designer d’intérieur au Canada sont à prévoir
B y Pe n n y To m l i n

he interior design community in Canada has a communauté du design d’intérieur au Canada
been working for some time to standardize travaille depuis longtemps à la standardisation des
qualifications for its professionals across the country. qualifications applicables pour ses professionnels à
A combination of internal and external factors has travers le pays. Une combinaison de facteurs internes et
provided the impetus for this, which primarily involves a externes a fourni les conditions idéales pour ce faire. En
change to educational requirements. The desire within the premier lieu, la standardisation implique un changement
profession in Canada to speak with one voice, and the des exigences en matière d’éducation. Ensuite, le désir de
resulting restructuring of IDC, was undoubtedly a parler d’une seule voix à l’intérieur de la profession au pays
contributing factor in the move toward standardization. et la restructuration des DIC ont certainement été des
Two other factors have contributed significantly as well, facteurs déterminants vers cette standardisation. Deux
namely changing requirements of the Council for Interior autres facteurs ont aussi joué des rôles considérables, soit
Design Accreditation (CIDA) and a 2009 amendment les changements des exigences requises par la CIDA
to Canada’s Agreement on Internal Trade (AIT). (Council for Interior Design Accreditation) et la modifica-
The AIT is intended to make it easier for people, tion de l’Accord sur le commerce intérieur (ACI).
investments and services to move across Canada. The L’ACI a l’intention de rendre les choses plus faciles
federal, provincial and territorial governments signed the pour les gens, d’une part, les investissements et les services,
original document in 1995. The same parties signed an d’autre part, dans leurs déplacements à travers le pays. Les
amended agreement in 2009. Chapter 7 of the amended gouvernements provinciaux, locaux et territoriaux ont
AIT speaks to labour mobility and states that any qualified signé le document original en 1995. Les mêmes parties
worker in an occupation in one province or territory must impliquées ont entériné les modifications en 2009. Le
be granted access to similar employment opportunities in chapitre 7 de l’Accord du commerce intérieur, tel que
any other Canadian jurisdiction. Barriers to labour modifié, donne des précisions sur la mobilité du travail et
mobility have traditionally existed within the interior stipule que tous les travailleurs qualifiés et employés dans
design profession and others, as individual provinces set une province ou un territoire doivent obtenir la même
their own licensing requirements. The AIT requires accessibilité d’emploi et les mêmes opportunités dans
professional regulatory bodies to reach agreement that l’ensemble des juridictions canadiennes. Les frontières à
allows transfer of qualifications across all jurisdictions. cette mobilité du travail ont traditionnellement existé dans
As the work of many interior designers becomes more la profession du design d’intérieur et dans d’autres
national in scope, or as more individuals seek to move professions, puisque chacune des provinces a mis sur pied
between provinces, the importance of this agreement is ses exigences légales. L’ACI demande aux diverses entités
self-evident. professionnelles réglementaires de s’entendre afin de
In addition to meeting the requirements of the AIT, pouvoir transférer les qualifications dans toutes les
the profession must meet changing requirements of CIDA. juridictions. Considérant que le travail de plusieurs
When the council declared that, effective 2010, a baccalau- designers d’intérieur est d’envergure nationale et que de
reate was to be the minimum requirement for all accredited plus en plus d’individus souhaitent se déplacer d’une
programs, the provincial regulatory bodies in Canada and province à l’autre, l’importance de cet accord est une
IDC came together to determine the path to compliance. évidence.
The result of both factors was an interprovincial agreement En plus de devoir satisfaire les exigences de l’ACI, la
on education, experience and examination requirements. profession doit se soumettre aux modifications des
The agreement stipulates that a baccalaureate degree (four exigences du CIDA. Lorsque le conseil a déclaré qu’à partir
years) will be the minimum requirement for interior design de 2010, le baccalauréat devrait constituer l’exigence
graduates effective in 2015, and that effective in 2017, the minimum requise pour tous les programmes accrédités, les
degree must be accredited by the CIDA. entités réglementaires provinciales au Canada et les DIC se
Andrew Furman, assistant professor at the School of sont réunis pour déterminer la marche à suivre pour s’y
Interior Design at Ryerson University, sees the changing conformer. Le résultat de ces deux facteurs fut un accord
educational requirements as “a natural evolution of the interprovincial sur l’éducation, sur les expériences et les
profession.” He says, “All professions begin with craftsmen exigences en ce qui concerne les examens. L’accord stipule

12 dimensions n volume 2, 2011 www.idcanada.org

and evolve as the scope of services expands.” He sees the qu’un baccalauréat de quatre ans sera l’exigence minimale
increased qualification requirements as the natural result of requise pour les gradués en design d’intérieur à partir de
a growing profession. l’année 2015, et qu’en 2017, ce même diplôme sera
Ryerson has offered a bachelor’s degree in interior design accrédité par le CIDA.
since the early 1970s. The program is CIDA accredited. Andrew Furman, professeur à la School of Interior
Fanshawe College in London, Ontario, currently offers a Design de l’Université Ryerson, voit la transformation des
three-year advanced diploma program in interior design. exigences de la formation «comme une évolution naturelle
Helen Pearce, the program’s chair, says the college is de la profession. Toutes les professions commencent avec
working toward a degree program that they hope to des artisans et évoluent lorsque l’envergure des services
implement beginning in September 2012. That would augmente. » Il voit l’augmentation des exigences de la
enable the program to become CIDA accredited in time to qualification comme le résultat naturel de la croissance de
meet the 2017 deadline. “Once we receive approval from la profession.
the ministry (of education) we can announce the new L’Université Ryerson offre un diplôme de baccalauréat
program. We will then develop bridging courses between en design d’intérieur depuis le début des années 70. Le
the existing and new curriculum, to enable graduates of our programme a aussi l’accréditation du CIDA. Fanshawe
previous diploma program to acquire a bachelor’s degree.” College, à London, en Ontario, offre présentement un
British Columbia currently has one CIDA accred- diplôme avancé de trois ans en design d’intérieur. Helen
ited program at Kwantlen Polytechnic University in Pearce, directrice du programme, dit que le collège travaille
Vancouver and another one is on the path, according to à mettre sur pied un nouveau programme, qu’il espère
Kwantlen’s former chair, Sooz Klinkhamer. She agrees ouvrir aux étudiants dès septembre 2012. Cela permettrait
the AIT provided the initial impetus to standardize the au programme d’obtenir l’accréditation du CIDA à temps
minimum qualifications for the profession across the pour la date limite de 2017. «Une fois que nous aurons


Applies to all graduates after January 1, 2017

Baccalaureate from a CIDA-accredited
3,520 hours of supervised work
FULL member of provincial regulatory
authority, with exclusive right to title.

Applies to all graduates prior to December 31, 2016

(Will be accepted by Provincial Regulatory Authorities until December 31, 2021)
Baccalaureate in an interior design
program of no less than 120-semester
3,520 hours of supervised work
FULL member of provincial regulatory
authority, with exclusive right to title.
or 180-quarter credits, with half of these
credits interior design coursework.


Applicable pour tous les diplômés après le 1er janvier 2017

Baccalauréat dans un programme
design accrédité CIDA.
3520 heures d’expériences
Membre de plein droit d’une autorité
provinciale en règle avec le droit
de travail supervisées. exclusif au titre.

Applicable pour tous les diplômés avant le 31 décembre 2016

(Entérinée par les autorités provinciales en règle jusqu’au 31 décembre 2021)
Baccalauréat dans un programme de
design d’intérieur d’au moins 120
3520 heures d’expériences
Membre de plein droit d’une autorité
provinciale en règle avec le droit
crédits de séminaires ou 180 quarts de travail supervisées. exclusif au titre.
de crédits, dont la moitié de ces crédits
correspondent à des travaux suivis
dans des cours de design d’intérieur.
obtenu l’approbation du ministère de l’éducation nous
pourrons annoncer le nouveau programme. Nous
pourrons aussi créer des ponts entre le programme existant
et le nouveau curriculum, ce qui permettra aux étudiants
ayant obtenu le diplôme du programme précédent
The changing educational requirements are d’acquérir un diplôme de baccalauréat.»
La Colombie-Britannique offre aussi un programme
"a natural evolution of the profession," accrédité par le CIDA à la polytechnique Kwantlen, à
says Andrew Furman. Vancouver, et un autre programme est en élaboration,
selon Sooz Klinkhamer, l’ancienne directrice de la
polytechnique. Elle précise que l’ACI a donné l’élan
nécessaire à la standardisation minimale des qualifications
La transformation des exigences de la formations de la profession à travers le pays. De plus, elle souligne que
« le conseil du NCIDQ (National Council for Interior
sont « une évolution naturelle de la Design Qualifications) a toujours été très vigilant dans la
profession », dit Andrew Furman. gestion des standards de la pratique. Les changements
qu’ils ont introduits dans l’examen, suite aux résultats
obtenus lors des analyses habituelles de la profession du
design d’intérieur, stimulent le développement des
curriculums dans les institutions. »
country. And, she says, “NCIDQ’s (National Council Les écoles au Québec font face à une situation similaire
for Interior Design Qualifications) board has always en ce qui concerne la conformité et la standardisation.
been very proactive in monitoring practice standards. Jusqu’à récemment, le collège Dawson, à Montréal, était la
The changes they put in the exam as a result of their seule institution accréditée dans la province. Le collège a
regular analyses of the interior design profession feed perdu son accréditation en 2010 parce qu’il n’était pas
curriculum development in schools.” capable de fournir un programme de baccalauréat aux
Schools in Québec face a unique situation with respect étudiants. Susanne Koltai, membre du département dans
to compliance and standardization. Until recently, Dawson cette institution, indique que le programme continue de se
College in Montréal was the only CIDA accredited school soumettre aux exigences du CIDA et affirme que la qualité
in the province. The college lost its CIDA accreditation in du curriculum respecte celle du conseil. Le collège Dawson
2010 because it is not able to provide students with a est la seule école de langue anglaise, parmi les neuf cégeps
baccalaureate degree. Faculty member Susanne Koltai says (collèges provinciaux de niveau postsecondaire) qui offrent
the program continues to follow CIDA’s stringent des programmes de design d’intérieur au Québec. La
guidelines and the quality of the curriculum remains at par plupart des élèves entrent au cégep avec l’équivalent d’une
with the council’s requirements. Dawson is the only onzième année, ce qui diffère des institutions de même
English-speaking school of nine CEGEPs (provincial niveau au Canada. Ils peuvent ainsi graduer avec un
post-secondary colleges) offering interior design programs diplôme général après deux ans et poursuivre leurs études
in Québec. Unlike other post-secondary institutions in dans un programme de trois ans au niveau universitaire. Ils
Canada, most students enter CEGEPs with a Grade 11 peuvent aussi obtenir un diplôme associé à un type de
equivalent education. They can graduate with a General carrière, de trois ans également, comme c’est le cas pour le
Education diploma after two years and continue their diplôme en design d’intérieur. Ces programmes de trois
studies in three-year university degree programs, or ans sont conçus pour préparer les étudiants à entrer sur le
graduate with a diploma from a three-year careers marché du travail, une fois qu’ils ont gradué, ajoute Koltai.
program, of which interior design is one. “The three-year « La question est désormais: comment pouvons-nous
programs are geared to prepare students to enter the satisfaire les exigences du CIDA à l’intérieur même du
workforce upon graduation,” Koltai says. “The question système du cégep?»
now is how we can meet CIDA’s requirement within Même s’il est évident qu’il y a des défis à surmonter
the context of the CEGEP system.” IDC, on behalf of the dans ce parcours vers la standardisation, tous sont d’accord
CEGEPs, has approached the Minister of Education in quant à l’importance des objectifs et travaillent ensemble
Quebec to start the dialogue. pour les atteindre. La profession au Canada profitera sans
While there are obvious challenges along the road to doute de l’acquisition de normes constantes et élevées
standardization, all agree on the importance of the goal and partout au pays, comme c’est le cas pour d’autres profes-
are working hard to achieve it. The profession in Canada sions. Le but ultime est de s’assurer que les diplômés des
will no doubt benefit from having consistent, high programmes accrédités, qui représentent le futur de la
standards in place across the country, just as other profession, aient les mêmes opportunités de carrière
professions do. The ultimate goal is to ensure graduates partout au pays, sans tenir compte de l’endroit où ils ont
of accredited programs, who represent the future of the complété leurs études. Les DIC ont amorcé un dialogue
profession, have equal career opportunities anywhere in avec le ministère de l’éducation du Québec, au nom des
Canada, regardless of where they completed their studies. n nombreux cégeps. n

14 dimensions n volume 2, 2011 www.idcanada.org
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Feel empowered

in conversation with…
An 18-year veteran joins the ranks of accredited interior designers
B y Pe n n y To m l i n

Jozef Pilasanovic’s career in design began more than 18 years ago in his father’s architectural studio, ARP, in
Belgrade, Serbia. He had been studying in the Faculty of Architecture at the University of Belgrade when the
civil war in his country ended his studies and chance to graduate.

“The war affected me tremendously and presented many obstacles to completing my studies. I watched as my
world fell apart. By the late 1990s, it was obvious the situation in Serbia was not going to improve. In March
1999 when NATO bombed Serbia, my wife, Jasmina, and I fled to Budapest, Hungary, where my father had
moved. We were supposed to have been on our honeymoon in Rome. Once in Budapest, we took a deep
breath and decided to try to make a new life as far away as possible. Canada was welcoming, so we came to
Toronto in October 2000.”

Jozef had worked at the architectural firm, BAU-24, while in Budapest. His first job in Toronto was with the
design firm Cecconi Simone, where he worked for three years. He then worked at Munge/Leung before
moving to his current position at HOK in 2006.

With plenty of know-how behind him, Jozef decided it was time to tackle the NCIDQ exam in the fall of
2009. He prepared intensively for about two weeks. “Some people take much more time,” he says, “but I was
relying on my experience. I read the practice book for the first two sections. I didn’t specially prepare for the
practicum because, honestly, if I’m not able to draw up the basics of a small project, I shouldn’t be working as
an interior designer in the first place!”

Jozef passed the practicum and one of the first two sections on his first try. In April 2010 he rewrote the exam
and passed. Fortunately, Jozef didn’t have to sacrifice too much time with his wife and nine-year-old son, Luka,
in order to become accredited in his field. “There were a few nights when I was up late studying, and I had to
forego some family vacation days, but it was worth it.”
i would
encourage Was he ever discouraged on his path to becoming a qualified interior designer? “No, never,” he says. In
addition to the support of his family, HOK provided material support by covering the cost of the exam and
young people providing him with study resources and time off to study. “I definitely benefited from the support I received
from my employer.”
to learn through
experience… What advice does Jozef have for interns who are preparing to write the NCIDQ exam? “I would encourage
young people to learn through experience. Many well-educated but inexperienced designers are lost when it
experience will comes to working on real life situations and projects. Experience will enhance their knowledge. Take the time
to hone your expertise, so that you can provide clients with design services ethically and in full complexity and
enhance their scope, as accreditation demands.” n

Name: Jozef Pilasanovic

Age: 42
Years of passing NCIDQ: 2010
Favourite design tool:
Thick black pen, tracing paper
Least favourite tool:

16 dimensions n volume 2, 2011 www.idcanada.org

en conversation avec…
Un vétéran avec 18 ans de métier devient un designer d’intérieur accrédité
Pa r Pe n n y To m l i n

La carrière en design de Jozef Pilasanovic a commencé il y a plus de 18 ans dans le studio d’architecture de son père, à
Belgrade, en Serbie. Il était étudiant dans le département d’architecture de l’Université de Belgrade, lorsque la guerre
civile dans son pays l’obligea à interrompre ses études et l’empêcha de graduer.

« La guerre m’a beaucoup affecté. Elle a occasionné plusieurs obstacles à mes études. J’ai vu mon monde se défaire.
Vers la fin des années 1990, il était clair que la situation en Serbie n’allait pas s’améliorer. En mars 1999, lorsque
l’OTAN a bombardé la Serbie, ma femme Jasmina et moi sommes partis pour Budapest, en Hongrie, où mon père
vivait. Nous étions supposés nous rendre à Rome pour notre lune de miel. Une fois rendus à Budapest, nous avons
décidé de faire le saut et de recommencer notre vie ailleurs, le plus loin possible. Le Canada était ouvert et nous
sommes arrivés à Toronto au mois d’octobre 2000.»

Il a travaillé à la firme d’architecture BAU-24, à Budapest. À Toronto, son premier emploi fut pour la compagnie
Cecconi Simone, où il a travaillé pendant trois ans. Il a ensuite travaillé pour la firme Munge/Leung, avant de trouver
son emploi actuel chez HOK, en 2006.

Avec ces nombreuses expériences, Jozef a décidé de compléter les examens du NCIDQ à l’automne 2009. La prépara-
tion fut intense, sur une période de deux semaines. «Certaines personnes prennent plus de temps que cela, dit-il. Mais
je faisais confiance à mon expérience. J’ai lu attentivement les deux premières sections du livre consacré à la pratique; je
ne me suis pas beaucoup préparé pour les examens pratiques. Pour dire vrai, si je ne suis pas capable de faire les dessins
d’un petit projet, cela veut dire que je ne dois pas travailler en tant que designer d’intérieur!»

Jozef a réussi les examens pratiques et l’une des deux premières sections au premier tour des examens. En avril 2010, il
a complété les deux sections des examens et a réussi le tout. Heureusement pour lui, il n’a pas eu besoin de sacrifier
beaucoup de temps, du temps passé avec sa femme et leur fils de neuf ans, Luka, pour obtenir l’accréditation dans son
domaine. «Il y a eu quelques soirées où j’ai étudié tard dans la nuit. J’ai dû également reporter mes vacances prévues,
mais tout cela en a valu la peine.» J’encouragerais
les jeunes à
A-t-il vécu un découragement dans cette ambition de devenir un designer d’intérieur qualifié? « Jamais », dit-il. En
plus d’avoir l’appui de sa famille, la firme HOK lui a donné le soutien matériel nécessaire en payant les frais obliga- apprendre grâce
toires de l’examen, en plus de lui donner du temps et des ressources pour étudier. «J’ai définitivement profité de ce
soutien offert par mon employeur.» à l’expérience...
Quels conseils Jozef donne-t-il aux jeunes stagiaires qui veulent passer les examens du NCIDQ ? «J’encourage les
jeunes à apprendre grâce à l’expérience. Plusieurs designers très éduqués et ayant peu d’expérience sont perdus lorsque améliorera leurs
vient le temps de travailler sur le terrain. L’expérience complétera leurs savoirs. Il faut prendre le temps de parfaire son
expertise pour mieux offrir aux clients un service de design qui mise sur l’éthique, dans sa complexité et dans son savoirs.
ampleur, comme l’exige l’accréditation.» n

Nom : Jozef Pilasanovic

Âge : 42 ans
Année de réussite des examens du NCIDQ: 2010
Outil de design de prédilection :
Un gros crayon au feutre noir et le
papier à calquer
Outil de design le moins apprécié :
Les imprimantes/flasheuses

www.idcanada.org volume 2, 2011 n dimensions 17

industry members*
Membres de l’industrie*
With thanks to our industry members for their continuing support of IDC.
Avec nos remerciements aux membres de l’industrie pour leur soutien continu aux DIC.
IDC/IIDEX partners Anthony Allan Work Environments Erv Parent Group Novanni Stainless Inc.
Partenaires des DIC/IIDEX Applied Electronics Ltd. Ethan Allan Office Source Inc.
DIRTT Environmental Solutions Ltd. Arborite, division de/of ITW Canada European Hardwood Flooring Centre OLON Industries
Hsquared Canada Archer Construction Group Ltd. faAB Home Fashions Olympia Tile International Inc.
InterfaceFLOR Arconas Fendi Casa, Canada Optimal Performance Consultants
Nienkamper Furniture and Accessories Inc. Arrow Furniture Ltd. Fieldstone Windows and Doors Ltd. Orion Hardware Corporation
Ruud Lighting Canada/BetaLED Art Works Gallery Fleurco Products PacBlue Printing
Tayco Panelink Ltd. Artopex FloForm Countertops Pacific Stone Tile Ltd
Astro Design Centre Floor Coverings International Pamas Slate & Stone Supplies Inc.
IDC national members AYA Kitchens and Baths Ltd Flux Lighting Inc. Para Paints
Membres nationaux des DIC Banner Carpets Ltd. Fontile Corp. Paytrak Payroll Services
3M Canada - Architectural Markets bf workplace Forbo Linoleum Inc. Pentco Industries Inc.
Hunter Douglas-Div Window Fashions BL Innovative Lighting FU.O.CO Urbano PI Fine Art/ Posters International
INSCAPE Blackburn Young Office Solutions Gateway Kitchen Centre Ltd. POI Business Interiors
Knoll North American Corp. Blum Canada Ltd. Geovin Furniture Inc. Prima Lighting
Steelcase Canada Ltd. Bradlee Distributors Inc. Grand & Toy Prolific Marketing Inc.
Tandus (Monterey, C&A, Crossley) Brigholme Interiors Group Greenferd Construction Inc. Rae Brothers Ltd.
Teknion Brunswick Manufacturing Co. Ltd. Grohe Canada Inc. Ram Mechanical Marketing Manitoba
Buckwold Western Hardwoods Specialty Products RE/max Professionals Inc. , Brokerage
IDC regional members Business Interiors by Staples Herman Miller Canada Inc. Renovations By Gray
Membres régionaux des DIC California Closets Heron Construction & Millwork Ltd. Robert Allen Fabrics Canada
Cambria Natural Quartz Surfaces Canadian Contract Leathers Inc. Hettich Canada L.P. Rodgers Wall Materials Inc.
Haworth Ltd. Canlyte Inc. High Point Market Authority Roman Bath Centre
Kravet Canada Cantu Bathrooms & Hardware Ltd. Holmes & Brakel Roya Manufacturing & Supply Canada Inc.
Milliken & Company Carpenters Union, Local 27 Humanscale Salari Fine Carpet Collections
Shaw Contract Group CAS Interiors Inc Huntington Lodge Electric Fireplaces Schoolhouse Products Inc.
GLOBAL GROUP Cascadia Design Products ICI/Akzonobel Paints SCI Interiors Ltd.
cd/m2 LIGHTWORKS corp. Impact Office Furnishings Limited Silk and Style By Dann Imports - 707585 Ontario Limited
IDC provincial members Ceratec InfoLink Silverwood Flooring
Membres provinciaux des DIC CF + D | custom fireplace design Interior Surfaces Inc. Smitten Creative Boutique
Allseating CGC Inc. Interna Furniture Design Ltd. SOFA, Source of Furniture and Accessories
Allsteel Chase Office Interiors Inc. Isted Technical Sales Solutions Workplace Furnishings
American Standard Brands Cherrywood Studio J+J Invision Sound Solutions 1997 Inc.
Beaulieu Commercial Ciot Marble & Granite Inc. JCO & Associates Spacesaver Corp.
Benjamin Moore & Co. Ltd. Click Lighting and Home Joel Berman Glass Studios Stanley Black & Decker, Inc.
Contrast Lighting M.L. Inc. Coast Flooring by Design Johnsonite Stonequest Inc.
Crown Wallpaper + Fabrics Cocoon Furnishings Jones Goodridge Suite22 Interiors
Dauphin North America Colin Campbell & Sons Ltd. Julian Ceramic Tile Inc. Sun Glow Window Covering Products of Canada Ltd.
Four Seasons Hotels and Resorts Command Performance Exclusive Electronic Solutions Jump I.T. The Ensuite
Kohler Canada Co. Commercial Electronics Ltd. Kitchen & Bath Classics (Wolseley) The floor studio inc.
Mabe Canada (GE Monogram) Connect Resource Managers & Planners Inc. Kraus/Floors with More The Gallery on the Lake Inc.
MARANT Construction Ltd. Contemporary Office Interiors La Scala Home Cinema + Integrated Media The Office Shop
Metropolitan Hardwood Floors Inc. Convenience Group Inc. LAVA Canada The Reeves Group Agents Ltd.
Miele Limited Cooper Bros. International Leber Rubes Inc. The Sullivan Source Inc.
Odyssey Wallcoverings Coopertech Signs and Graphics Leviton MFG of Canada Threadcount Textile & Design
Paloform Inc. Crate and Barrel Canada Light Resource Three H. Furniture Systems
Partition Components Inc. Creative Matters Inc LightForm Tierra Sol Ceramic Tile
CTI Working Environments M.R. Evans Trading Co. Ltd. TOR The Office Resource
IDC media partners Cubo Design Inc. MacCormack & Sons Ltd. Tri-Can Contract Inc.
Partenaires des médias des DIC Custom Closet Organizers/Shelving Outlet Magnum Opus Tripped On Light design inc.
Canadian Interiors Custom Home Decor Ltd Maharam Tritex Fabrics Ltd.
Design Quarterly Daltile Canada Mannington Commercial Turco-Persian Rug Co. Ltd.
HOMES Publishing Group Denison Gallery Mapei Inc. Tusch Seating Inc.
MONTECRISTO Magazine Design Exchange Marble Trend Ltd. Unique Storage & Organizers
NUVO Magazine Design Living Centre Marco Products (W Group) Valley Countertops
Divine Hardwood Flooring Ltd. Martin Knowles Photo/Media Vandyk Commercial Co. Ltd.
IDC local members Division9 a Shnier Company Metro Wallcoverings Inc. Verno International Art Studios
Membres locaux des DIC Dominion Rug Sales Ltd. Millennium Office Furnishings Vifloor Canada Ltd.
360 Living Inc. D’or Art Consultants Miller Thomson LLP W Studio Decorative Carpets
3form Drechsel Business Interiors Millson Technologies Inc Weavers Rug Gallery
AABA Granite & Marble Inc. DSG Custom Glass Modallion Westport Mfg. Co. Ltd.
Abet Corp. DWMartin Construction MOEN INC. White-Wood Distributors Ltd.
Alendel Fabrics Limited E. Roko Distributors Ltd. / Formica Momentum Group Wilsonart Canada
Altro Entertaining Interiors Monk Office Interiors Window Works Ltd.
Ames Tile & Stone Ltd. Environmental Acoustics M-Tec. Inc. Your Home Custom A/V Systems
AMTICO International Inc. Envirotech Office Systems Inc. My Greener House
* As of April 14, 2011 * À partir du 14 avril 2011


C536–43 Hanna Avenue
Toronto on M6K 1X1
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e dimensions@idcanada.org w www.idcanada.org
18 dimensions n volume 1, 2011 www.idcanada.org

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Even natural daylight

doesn’t dispel LinX’s
instant atmosphere. The
charcoal-grey entrance,
with its smattering of
little backlit “X”s, gives
way to riotous colour
blocks of fuchsia
punctuated with huge
hot-pink “X”s.

How Bortolotto Design made LinX – a meeting
space for undergrads at Toronto’s Humber
College – “X”-traordinarily memorable.
—By Leslie C. Smith




Artfully placed LCD TVs
and a tangerine bar wall
enlivened by changeable
LEDs help keep the visual
action happening well
into the night. Reflec-
tions of light bounce off
the highly polished
concrete floor, metal
tables and metal-clad
support columns.

Buried in the bland, concrete confines of no: the ceiling’s cheesy lay-in tiles could with grey metallic reveals create an idea of
Humber College, located in Toronto’s not be replaced or raised. verticality, augmented by the angular eye
not-quite-post-industrial west end, lies a “Those were the biggest challenges – candy of the brand “X” logo liberally applied,
little treasure, a jewel of a space carved out the low ceiling and the low budget,” says light-pink-on-dark, to the walls.
of an unprepossessing former workshop for Tania Bortolotto. “We were left with a Why the “X,” which gets mimicked dozens
industrial studies. Outside, the single-sto- horizontal, compressed space. How to of times over, in back-lit laser cuts at the
rey building wasn’t (still isn’t) that much to design it to maximize at least the appear- entranceway, along the walls, even as
look at; inside, it was a 746-square-foot ance of ceiling height?” wayfinding signage to the washrooms? “The
disaster: dark, low-ceilinged, and filled with Very cleverly, as it turned out, with an original building indicator was ‘L-X,’”
cobwebbed woodworking and plumbing optical illusion created by overlaying the Bortolotto explains. “That’s why those letters
tools. Tania Bortolotto, Alex Horber and acoustic tiling with islands of metallic are still in upper case in the new LinX name.
Jerry Lin of Toronto’s Bortolotto Design painted MDF panels fitted with recessed But the ‘X’ itself became the logo.”
were tasked with turning this magnificent halogen lights. A strong colour scheme – LinX: a good name for a place to hook up
decrepitude into a welcoming, multi-use fuchsia and tangerine calmed by charcoal with others, given its computer pathway
meeting place for undergraduates. Oh yes: grey – helps distract attention away from connotations, an idea reinforced by the
and to build an exciting new brand around the ceiling and zero it in on the surrounding intersecting lines of the “X.” In mathematical
it. All on a budget of just $1.24 million. And walls. There, square pink blocks interspersed terminology, “X” stands for the unknown; in


film ratings it implies sexual content. So: This was to be a transformational space, And, always, the glow of light from the
modernity, mystery and maybe just a hint of from day to night, quiet lounge to busy backlit “X”-logoed signage, the LED
sex, all jumbled into one neat little alpha- restaurant and bar, and loud, live entertain- chameleon colour changes that highlight
betical symbol. Not bad. Even the building ment at night. We had to effectively the bar’s back bottle display and front
itself seemed to assist in this branding program the flow of this transformation surround of sandblasted glass.
“X”-ercise: one long side wall already angled through the area’s lighting, as well as its Everything about LinX, from the lighting
out, so the Bortolotto team added another, a furnishings and acoustics.” to the logo is “built-in and custom,” says
convergent angle for the interior wall Roll-down blinds, therefore, on the Bortolotto, “fully integrated into the space.”
fronting the kitchen and bar serveries, windows, and the halogens on dimmer As well it should be, in this new era of
forming an almost-“X” on the blueprint. switches. Independent grids overhead that brand-integrated design. The client obtains
Nearly as important as brand coloura- brighten into spotlit pools for the stage and real added value in a project like this. And
tion, name and logo was the design of the dance floor. Special strobes for special the design team? Before-and-after shots to
space’s controlled use of direct and indirect occasions. Additional touches of visual die for plus, one assumes, a priceless sense
lighting. “We added windows along the excitement garnered from the reflection of of self-satisfaction. c I
outside walls, which added character and ceiling lights bouncing off the highly
natural lighting,” says Bortolotto. “But the polished concrete floor, metal tables and
big, open plan was a functional challenge. metal-clad support-and-service columns.


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Nice ’n easy

For the latest HedKandi hair

salon in Calgary, ORDA
develops a design that goes
with the flow of the stylists.
—By Gail Jansen

Photography by Ric Kokotovich MAY/JUNE 2011 CANADIAN INTERIORS 27

The last thing a busy salon needs is to designer Doris Martin, was to develop an light when you have a small space,” says
have its stylists and clients constantly understanding of the stylist’s flow and Martin. “I think sometimes that darkness
vying with one another for space. But interactions with clients. When a typical can create intimacy, and by letting other
Calgary’s HedKandi is known as much for Saturday could mean upwards of 45 items hold the weight in the space, you
its creative style as it is for its creative people moving around the 3,000-square- can avoid causing the ceiling to feel lower
stylists – and the owners’ desire to foot space at any one time, it was impor- or to feel like the walls are coming in.”
optimize limited space needed to be tant, says Martin, to keep it as open as The designers created a backdrop that
balanced with their desire for a contem- possible and streamline even the most was light and ethereal, while adding an
porary style that would complement their mundane aspect. eclectic selection of colourful accessories,
trendy new location in downtown’s Hotel Counterintuitive to many designs that furniture and artwork. They created
Arts. And so they turned to ORDA, a look to a lighter feel to create spacious- counterbalance and anchored the design
Calgary firm they had worked with on ness, ORDA instead chose to create a with a high-gloss black epoxy finish for
four previous salon designs. balance between light and dark. “I don’t the floor and customized dark millwork.
The challenge, according to senior really agree that you have to keep things Architectural elements also serve to define



the space and organize the various that also led ORDA to create a series of What begins as a reception credenza
services within – from the irregularly low division half-walls that give the (above) becomes the stylist colour-mixing
area with colour and drying stations on
formed and coloured dropped ceiling in illusion they are being “pushed” up
the opposite side; for visual privacy,
the entryway to the reception desk flowing through the rubber-looking surface of the movable acrylic panels are installed with
directly into the workspace. floor. These emanations also serve to offer custom graphic artwork. The wash area at
Even the extended-length countertop, the salon a practical solution for housing the rear of HedKandi (opposite) is open
to the salon proper.
where stylists mix colours and prepare their electrics.
solutions, was designed to be atypical by By offering HedKandi a balanced
being open to the rest of the salon; while design, ORDA maximizes both the flow
the more typical aspects of the salon, and the style of the salon, without ever
including washing sinks and drying areas, making the space feel small. c I
are designed away from outside walls to
avoid the boxlike feeling such placement
can effect. It’s this desire for openness



Jump right in
Jump.ca aims to draw the “non-techie”
into the sometimes intimidating world of
wireless devices. The light and lively
design of the company’s latest location
in Regina – by Vancouver-based SSDG
Interiors – does just that.
—By Gail Jansen

When Vancouver’s SSDG Interiors Inc. set by Toronto’s Eventscape, the wall features
out to create Jump.ca’s newest retail 100 individually sized acrylic panels,
space in Regina’s Cornwall Centre, the dimensioned through 3-D modelling to
designers looked to how they could best create a continuous complex curve, with
represent the company’s out-of-the-box panel graphics that can be easily reim-
branding of wireless devices within the aged at any time to create a fresh new
confines of a boxlike space. “This was a look, without the need for a complete
long narrow space, and we wanted to remodel.
break that up and make it interesting,” Within the store, technology-focused
says Beth Thompson, associate on the elements engage tech-savvy customers
SSDG team. “Because it’s a company that’s without alienating those who simply want
so technology driven, it could have had a a new phone – from the two Microsoft
very ‘techie’ feel to it that would be very Surfaces, which directly interface with
dark and intimidating.” customer’s wireless devices, to the store’s
Looking to Jump’s own branding touch screen monitors, which allow
strategy to lighten that “techie” feel, the customers to seek out information and
team at SSDG began by using a glossy even make their own purchases. This level Wrapping one whole side of the
white backdrop on the walls; a neutral, of technology complements the overall store, comprising 75 per cent of
the wall space, the Discovery
grey, easily washable concrete on the futuristic design without overwhelming it.
Wall visually and physically
floor; and Jump’s own branded green in “I think if you create too many dispa- draws customers in. Fabricated
broad concentric circular graphics rate elements, it breaks the space up, but by Toronto’s Eventscape, it
interspersed throughout. “Jump has a one larger element makes it seem simpler features 100 individually sized
acrylic panels creating a
fresh and young brand, and the company and more open. Keeping the product the continuous complex curve.
itself is young,” explains Thompson. “Even focus, and keeping everything at eye level,
the name ‘Jump’ is kind of fresh, so in ensured that it wasn’t overwhelming to
creating the look of the store, we wanted look at,” says Thompson. “You can make a
to keep it quite welcoming and simple.” much more powerful statement, if you
To make the store inviting to even look at the space as a whole, and look at it
non-techie types, SSDG conceptualized the as a three-dimensional environment
store’s most striking feature – the Discov- where you’re not afraid to create shape
ery Wall. Set to wrap one whole side of the and form.” c I
store, comprising 75 per cent of the wall
space, it’s meant to both visually and
physically draw customers in. Fabricated

30 CANADIAN INTERIORS MAY/JUNE 2011 Photography by Riley Stewart

Above Simon Pattison and his curvaceous,
colourful tableware. Right Ronan and
Erwan Bouroullec. Below Kaori Aoi and her
snazzy set of acrylic game cubes.

In the now!
Taking it all in at Maison & Objet’s now!
design à vivre.
—By Michael Totzke

I was hoping to run into Ronan and Equally popular was the somewhat
Erwan Bouroullec at Maison & Objet in cramped area of now! devoted to novice
Paris this past January, as they had been and small-scale designers who couldn’t
designated feature designers at M&O’s possibly afford renting one of the show’s
show-within-a-show, now! design à vivre. big booths. It was here my eye was drawn
The last time I saw the Brittany-born to a platform full of white and silver and
brothers was a few Orgatecs ago in fluorescent-coloured objects – sensuously
Cologne; we shared espresso at the Vitra curved and angled – tucked into a space
booth, and I found them as singularly the size of a postage stamp. They turned
charming as their work. Alas, our paths out to be the very first range of products
never crossed in Paris. I had to settle for a by affable young Brit Simon Pattison. “I
special exhibition of their work (from look to create simple, functional objects
Algues, the iconic modular plastic screen for the table that excite the user,” he
for Vitra, to Ovale, a delicate new collec- explained. “I set myself a challenge to
tion of tableware for Alessi) and to create designs that are serious yet play on
discover two new introductions on the their relationships with their functional-
show floor: the voluptuous Ploum sofa for ity.” With training in art, design, pottery
Ligne Roset and the vivid Losanges rug and silversmithing, Pattison is a talent to
for Nanimarquina. Bravo, Bouroullecs. watch.
I did have the pleasure of meeting six In the following pages, you’ll find
of the seven designers exhibiting under works by Simon Pattison; three of the
the banner Japan Design – each coolly Japanese designers (all safe and sound in
composed and elaborately polite in the Tokyo, I’m happy to report, and touchingly
Japanese manner. There’s a purity to Japa- stoic about the situation in Japan); and
nese design that is refreshing amid more the Bouroullec brothers. You’ll also find
baroque offerings, and Japan Design other items that caught my eye, from
proved to be one of the show’s most companies in France, Denmark, Italy,
popular attractions. Switzerland and Taiwan.


The Bouroullecs

For Barcelona-based Nanimarquina,
Ronan & Erwan Bouroullec have
reinterpreted the traditional Persian
rug using the ancient kilm technique. 1
Losanges, available in two sizes, is the
playful result, combining 13 colours
through the geometrical rhombus shape
(a great challenge to North Pakistan
craftspeople). The Afghan wool is spun
by hand, allowing for unique colour
tones to be highlighted, which make
each rhombus different and each rug
one of a kind.


“We pictured it like a ripe, voluptuous
piece of fruit.” So say the Bouroullec
brothers, whose sponge-like Ploum sofa
– available in three- and four-seater
versions – is indeed a deliciously
refreshing piece of work. The quilted
fabric employed comprises a thick layer
of stretchy polyester quilting sandwiched
between two superimposed woven layers,
held in place by points of stitching. With
its generous croissant shape and low
profile, Ploum “offers an extreme level
of comfort while offering the body the
chance to adopt a number of possible
postures.” ligne-roset.com


Says the noted British designer, “I thought
about the old telephone, lying face down
on its cradle, and asked myself if it
wouldn’t be better the other way round,
so you could see the screen and dial the
number without picking it up.” Et voilà:
his DP 01, a DECT (Digital Enhanced
Cordless Telecommunications) phone for
1 Swiss company Punkt. The handset is
designed to be stable on a flat surface,
allowing for hands-free communication.
DP 01 may be placed horizontally or
mounted on a wall. punktgroup.com

Personal bests 2—SIMON SAYS

Birmingham, England–based Simon
Pattison launched his very first range of
projects at Maison & Objet. The vibrant
and curvaceous collection of tableware
reflects Pattison’s extensive training in
2 all aspects of design – from graphics
and brand development to ceramics and
silversmithing. “Within my work I look
for relationships between materials,
processes, colours and finishes, in
different mediums including ceramics,
metal and wood,” says Pattison. “These
vessels are constantly evolving.”

QisDesign is part of Quisda, a leading
Taiwanese tech firm. Its Crystal Light,
an LED lighting fixture, is composed of
various “crystals,” which shimmer with
silver and sparkle like diamonds. Each of
these is connected by a magnet, allowing
the user to assemble them into various
forms. The user can also change the light
mode with a remote control to create
different colours and lighting effects.


The Saari collection from Italian furniture
maker Arper was designed for waiting
areas in restaurants, hotels and such.
Available as a one-, two- or three-seater
sofa, or as a bench, Saari is distinguished
by its precise, clean lines. It comes in a
wide choice of materials and colours, with
a four-leg base in steel – painted, chromed
Bright ideas
or veneered. arper.it


The cheerful, textural Pinocchio rug
from Danish company Hay is made of
100-per-cent pure new wool. Available in
three sizes, it comes in three different
colour ranges: Multi Colour (shown),
Orange and Coral/Black. hay.dk

The distinguishing feature of Joko –
developed by Studio Bartoli Design for
Italian company Kristalia – is its single
fused shape, which is soft and organic.
Joko’s continuous surface can be
upholstered in leather and in fabric in
different colours and versions. kristalia.it


From Japan

Tokyo-born Kota Nezu has designed
everything from industrial products to
automobiles. His Jellyfish prototype is “a
stool with built-in LED and a water tank.
Your natural movement of sitting on it
will produced stunningly beautiful
ripples; you will feel as if you were
seated on the water.”
3 ripplestool.com znug.com

Satoshi Umeno’s Bind is both side table
and magazine rack. Says the Tokyo-based
designer, “Messy piles of magazines that
would otherwise be left scattered on
the table can be stored underneath and
added to over time for an artistic look.
The stylish and functional table fits
comfortably beside a bed or couch.”

Says young designer Kaori Aoi of jou-jouer,
her set of acrylic cubes, “These days,
we live in a society of mass production
and consumption. This toy was created
for people who live, not only for today,
but also for the future. This toy helps to
develop the imagination and creativity
of people.” innocent-blue-aoi.com


Don’t miss the launch
of Hospitality Canada
@ IIDeX 2011

exposiTion We Speak The

September 22 – 23, 2011 Language of Design
September 22 – 24, 2011 Join the
DIRect eNeRgY ceNtRe, toRoNto Conversation
To download recommended Qr reader, please visiT www.beetagg.com
Double vision
On Montreal’s Place des
festivals, two slim volumes
by Daoust Lestage – each
containing a restaurant – blur
the distinction between
inside and out.
—By Rhys Phillips

The two glass-and-aluminum volumes, end to end, bring to mind elongated transcontinental railway
dining cars, temporarily parked between a museum and its grand plaza.

Photography by Marc Cramer MaY/June 2011 CANADIAN INTERIORS 39

Two views the Brasserie T!
interior reveal extensive glazing:
artful slices extending up and
across the roof, along with
expansive sliding doors facing
west onto the Place des festivals.

Montreal today, like no other North fabric. Perhaps ironically, an extended detail but are delightfully transparent, full
American city, exudes a European sensibil- economic downturn curtailed this sense- of light and seek an aggressive engagement
ity. There is an imbedded ethos that a city less process and over the last two decades, of the urban landscape.
is an integrated social-ecosystem in which a quite remarkable reknitting together of Indeed, that exterior landscape is often
hard boundaries – between communities or the urban core has been taking place. of its own making, most famously at the
“quartiers,” between the inside and the The firm of Daoust Lestage has played Centre CDP Capital, the centerpiece in the
outside, between the public and private no small part in this process. A unique Daoust Lestage–designed Quartier interna-
realms – are to be avoided. From the 1960s combination of architects, urban designers, tional de Montréal district. Spanning the
into the ’80s, however, this was deeply landscape architects, industrial designers Ville-Marie Expressway, the two-block long
threatened by systematic efforts to level and graphic artists, under the leadership “horizontal skyscraper” is bracketed at
inner-city communities and by the con- of architects Renée Daoust and Réal each end by its sumptuous Place Jean-
struction of the Ville-Marie Expressway, a Lestage, the firm designs buildings whose Paul-Riopelle, featuring Riopelle’s dramatic
brutal gash that bifurcated the urban interiors have a yoga-like simplicity of fire-and-water fountain and the revitalized


Who’s Who

Square Victoria. “We are so preoccupied by such events as the Montreal Jazz Festival. significantly narrowed to widen the
the genius loci of where we build,” Renée Dominated by four towering, bent light gallery-side sidewalk to 46 feet. Along this
Daoust told me recently. “A building must standards, the plaza is split between a relatively narrow tract, Daoust Lesage has
clearly relate to its environment. In the city hard “mineral carpet” and softer terrace of inserted, end to end, two slim volumes
this means we like our interiors to visually grass and trees. The former, however, is – vitrines habitués – that appear almost
project their users into a high quality almost completely interspersed with like elongated transnational railway dining
surrounding urban environment.” interactive fountains from which computer cars temporarily parked between a
The firm’s latest contribution to Mon- choreographed water dances. At night, the museum-cum-gare and its grand plaza.
treal’s evolution is Place des festivals; part water is lit from underneath in red and Both contain restaurants, chef Norman
of the city’s growing Quartier des spec- white. Laprise’s Brasserie T! on the south and
tacles, it stretches two blocks along the The Place’s eastern boundary is rue Carlos Ferreira’s F Bar to the north. The
west side of Place des Arts and can Jeanne-Mance along the Musée d’art sleek aluminum skin of these tubes is
accommodate up to 25,000 spectators for contemporian. This street has been sliced open vertically by clear glazing that


Who’s Who
The confined spaces of both
Brasserie T! (this page) and F Bar
(opposite) mandate sleek, simply
adorned surfaces. The real
animator of these interiors
spaces is the exterior.

extends up and completely across the articulated roof canopy, its underside each of the volumes, deftly concealing
roofs. Under a sizable beam, both restau- painted orange for Brasserie T! and blue ventilation vents for the below-ground
rants also have a large expanse of glass for F Bar, confirms the point of entry. Once kitchens. Both restaurants are primarily lit
sliding doors that face west onto the Place. inside, a bar stretches partly along the by lights either recessed in or extruded
The beam supports a brilliant red terrace eastern museum-side wall and this element from a single “beam” that stretches along
canopy, its colour, states Daoust, recalling creates a niche dining area next to the the two spaces. The interior white surfaces
the area’s checkered history as a red-light door, a sort of small fish bowl that projects remain minimalist, but reveals designed to
district. Like in Paris, heaters are integrat- unsuspecting client visually into the accommodate the dimensions of the
ed into the frame to allow outside dining in outside. aluminum panels subtly articulate the
the shoulder seasons. The steel frame of the 13-foot-wide concealed structure. The wash of light
The entrances on the restaurants’ south tubes is completely concealed so that only across the white surfaces and within the
ends are walls of glass designed, says a sleek skin of aluminum and glass is deep cuts of the windows creates its own
Daoust, to dematerialize the facades. An visible. An exterior, raised arch glides over play of light and shadow. To create warmer


Who’s Who

hues, Brazilian Ipe wood, the same dark service area are a cheeky mix of royal dancing waters, provides a continuous
rich flooring found in the CDP atrium, was purple, orange and black. (White on orange show for diners, while overhead the visible
used. The narrow dimensions of the is used by graphic designer Taxi for the sky changes colour and form as the
elongated space ensure all the tables are restaurant’s signage.) Yves Montpetit uses weather changes. At night, the choreo-
closely associated with windows. a more traditional palette in F Bar, employ- graphed water becomes a spectacle of
The individuality of each restaurant is ing trompe-l’œil of traditional Portuguese shape-shifting colour while diners in the
established primarily by the furniture used tiles on the bar to reflect Ferreira’s origins. restaurants emerge as highly visible
and the design of the bars. In Brasserie T! The confined spaces of the two restau- “actors” to those on the square. Like at the
designer JP Viau uses contemporary rants mandate sleek, simply adorned nearby theatres, the age-old pantomime of
wood-topped tables and composite chairs surfaces and limited interventions. But the seeing and being seen plays out across a
of neutral shades. In contrast, the gridded real animator of these interior spaces is spectacular, multilayered stage. c I
shelving behind the bar and the divider the exterior. By day, the Place des festivals,
separating off access to the below-ground alive with people co-mingling with the


Who’s Who

CTI at Haworth
CTI Working Environments, the
Mississauga-based Haworth dealer,
3 invited design firms to compete by
creating a poster featuring an image of
Very, Haworth’s latest task chair ­– then
commemorated it with a party for the
design community at Haworth’s University
Avenue showroom, where guests voted for
2 the winners.

1—CTI colleagues Helen Gillard, A&D liaison; Warren

Somers, president; and Sharon Russell-Snowden, VP
sales; with Haworth’s Sara Parker, senior business
development manager.
2—Lisa Nickel, project designer, Modo Creative; Cannon
Design’s Anne McCance, associate, interior designer, and
Erica Merry, interior designer.
3—Relaxing on Very chairs: Dave Turner, director sales,
business development, CTI; Yoel Berznoger and Jody
Goodenough, senior A&D managers at Haworth; and
Brooke Cole, designer, Straticom.

Voices of spring 1

—By David Lasker

1 2

Brigholme 50th
In 1961, Mr. Ed made his TV
debut and Brian C. Holmes was
incorporated in Toronto. A half- Domison’s Toronto launch
century later, the Markham-based In 2001, the Trung siblings –
Haworth furniture dealer sister Thien Ta and brother 3
threw a birthday party at My Ta – founded Periphere, a
Toronto’s Royal Conservatory. Montreal-based furniture design
and manufacturing company.
1—Keith Macdonald and Monique Jahn, interior
designers at NORR; Judy Goodenough, senior A&D Then they opened a showroom
manager, Haworth, looking stylish in retro-geomet- and retail store, Domison, first in
ro; David della Torre, associate and project manager Montreal and, last month, in
at interior design firm Modo Creative; and interior
Toronto’s east-end design district.
designer Meghan McBride, associate, B+H
1—Shauna Levy, VP, MMPI Canada, and Interior
2—Brigholme brass Joe Williams, president; Dayna
Design Show director; husband Anne
Bradley, director, business development; and Jeff
(pronounced “Ahn”) Vos of lighting supplier
Minor, VP operations and COO.
MOOOI USA; and their six-year old daughter,
Jaya Vos.
2—Jennifer Kreyssig, Interior Design Show
account manager; Domison co-owner Thien Ta
Trung; and Alfred Engerer of Geister Blitz Art
Glass Works.
3—Domison stores designer, Alexandre Blazys,
half of the Montreal-based design team
blazysgérard; and co-owner My Ta Trung.


all-claD 40Th
To celebrate its 40th anniversary,
All-Clad, the legendary u.S.
stainless-steel cookware maker,
asked chef Michael Stadtländer
to create dishes using ingredients
from his eigensinn Farm in 3
Singhampton, Ont., rated one of
Canada’s top three restaurants by
The New York Times. The swanky
Sub-Zero/Wolf showroom on King
West in Toronto offered the perfect
kitchen and party space; proceeds 1
from the silent auction benefited 2
the Canadian Chef’s Congress
eager Beaver Culinary

1—Sonya Latreille, product manager, All-Clad;

from high-end kitchen-appliance dealer
Maroline Distributing, Gerry DiLeo, VP builder
sales, and Anna Manca, director of business
development and strategic alliances.
2—Leonard erad, executive sous chef, and Kevin
Prendergast, executive chef, Toronto Hilton;
Samuel Glass, chef and professor, Centennial
College School of Hospitality, Tourism and
Culture; and Marc Turgeon, president and CeO
of All-Clad owner Groupe SeB Canada.
3—Mike Dixon, VP Canadian Chef’s Congress,
and Michael Stadtländer decorate the cake as
Jamie Kennedy, another celebrity chef, watches
from the background.

12 Concorde Place, Suite 800, Toronto, ON M3C 4J2

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Last Word

Reactiv Pictures’ 3-D

aluminum logo is lit and
animated via digital
projector over the
entrance door. Vinyl inlay
bubbles on the floor lead
to a CNC-cut partition
that lets visitors peek
through giant 3-D suds
into the kitchen.

Bubbly personality
Reactiv Pictures’ distinctive logo –
a bubbling test tube – informs
Lux Design’s effervescent reimaging
of its Toronto headquarters.
—By Katharine Vansittart OºOoo
NoOoºoºO, it’s not a pharmacy. Nor an
aquarium. Director Alon Isocianu and
production manager Anna Junger, part-
design and animation. Green represents
Reactiv Post, a music-video production
house, already well known for its creative
effects and materials – light, paint,
aluminum and vinyl – to achieve multi-
sensory theatrics. The 3-D aluminum logo
ners in Toronto-based Reactiv Pictures, camera work, engaging narrative and is lit and animated via digital projector
simply wanted their fledgling full-service special FX for such acts as Candy Coated perched over the entrance door. Follow the
video production company’s name, logo Killahz, Done with Dolls and Finger vinyl inlay bubbles on the floor and
and blue/green branding to make a Eleven, all hits on the MuchMusic count- painted stripes along the walls to a
distinct impression. A bubbling test tube down. This office space was mostly CNC-cut partition that lets visitors peek
may not scream “Video production!” the designed with Reactiv Post in mind, as through giant 3-D suds into the kitchen.
way, say, a camera lens or film reel most music video production happens Keep following the floor bubbles to
graphic would. But it does say “Experi- while filming on location. Lux Design, a Reactiv’s screening rooms: two cozy, chic
mental, alchemical, transformational, young Toronto firm, was hired to perform spaces designed to function formally by
shazam-anything-can-happen-here-folks.” some kind of magic on a banal day and serve as lounges for entertaining
And, like they say in show business, you 1,000-square-foot concrete and drywall off hours. These upscale rec rooms are
don’t get a second chance to make a first cube in a basic refurbished downtown wired to the max with jumbo screens and
impression. Toronto red brick, beginning with a computers, connected to the main brain
SoOºoOoo, it's not a drugstore or startling entrance that featured the firm’s tucked away in tiny offices at the end of
underwater whatever, but Reactiv does branding. “Because we work with ad the hall. Just follow the OoOºoos. c I
lead a double life. First and foremost, agencies it was important to show an
Reactiv Pictures, represented by blue, is a appreciation for brand awareness,” notes
commercial post-production facility
catering to other companies, such as
advertising agencies, for whom it provides
such services as video editing, broadcast

POºoooOºf! Reactiv’s logo front and
centre. The designers got a big bang for
the tight budget by mixing inexpensive

48 CANADIAN INTERIORS MAY/JUNE 2011 Photos by Cameron Smith


CANADIAN INTERRIORS_MO_S11_235x292_CAN.indd 1 19/04/11 15:00

30 eMInenT deSIgn hOuSeS
SOFA is 30+ furniture and accessory leaders in 200,000 sq ft of renovated showroom space. dedicated
to helping dealers and design professionals grow their businesses, SOFA is your inspiration hotspot.


Open to the trade only
Tues.–Thurs. 10–4 n VIP Concierge Appointments: 905 678 5626
SOFA 6900 Airport Rd., Mississauga (inside the International Centre)
(minutes away from Toronto’s Pearson International Airport)

visitsofa.com MeMBeR OF: IdC, ARIdO, CdeCA, IdRC All Images Photographed at SOFA, nov. 2010