The design for Picnic Food’s first street-front shop had to reference previous iterations, in subterranean concourses, in a refreshed experience.
Interior Designers: Ashley Rumsey, ARIDO; Stanley Sun, ARIDO
Design Firm: Mason Studio
Design Team: Marti Hawkins, Intern ARIDO
With more expansion in mind, an adaptable design needed features that would be both easily replicable as well as physically identifiable as key symbols of the brand experience. Repeated linear woven wood textures recall textiles commonly associated with picnics and become an iconic design element for future locations. The communal dining table returns on a trestle base while the lime and watermelon brand colours are present via with greenery in terracotta pots.
The new Broadview Hotel has come a long way from its former lives as a factory, a boarding house and then “Jilly’s” – an infamous seedy nightclub. Now, the landmark in Toronto’s east end is a chic 58-room boutique hotel boasting a restaurant, cafe, an indoor/outdoor event space, and a rooftop bar.
The building’s historic architecture, its varied uses over time, and the surrounding neighbourhood character inspired the design team to explore and reference its different phases and styles. They mixed styles and periods to reinforce the eclectic layers built up over time, using an array of bespoke finishes, furniture, and lighting, mixed with a pastiche of industrial, vintage and contemporary pieces. Furniture and lighting by Canadian designers including Coolican & Company, Anony, were incorporated along with custom art from a local curator.
A magnet for both guests and neighbours, the airy ground-floor cafe invites guests to sink into leather banquettes or gather at the white marble and brass bar under a halo of pink neon – an installation by the son of the creator of the original Jilly’s sign. Custom-designed wallpaper replicates designs found during demolition, and an “eroded” floor mixing wood and tile nod to the building’s history. The main-floor restaurant has the richness of a classic tavern, with surprising elements like drapery with lemurs smoking hookah pipes.
The guest rooms, the most spirited spaces of all, mix Victorian-style floral wallpaper and upholstery with deep blue ceilings, red velvet drapery, brass lighting, and even a brass rail to create a playful, modern boudoir ambience.
The hotel’s treasure is found in the building’s tower, where guests find an intimate space for private dinners. The exposed brick and wood beams of the tower’s vaulted ceiling contrast with wood dining tables, leather chairs, vintage mirrors and a symphony of chandeliers – a magical space unlike any other in the city.
The hotel has won numerous awards and the seventh-floor restaurant/bar has been voted one of the top patios in Canada, delighting guests with its stunning 360-degree views. With the redesign, the hotel is now a key catalyst in Toronto’s eastward expansion.
Situated on Dubai’s waterfront, the Etihad Museum honours the United Arab Emirates’ (UAE) conception story. Comprised of the curving Pavilion above ground and a subterranean Museum, the building is adjacent to the historic Union House, where the nation’s Constitution was signed in 1971.
Interior Designer: Chen Cohen, ARIDO
Design Firm: Moriyama & Teshima Architects
Project Photographer: Victor Romero, Felix Loechner
The museum makes an impact with its unique scroll-like form which mimics the parchment paper of the UAE Constitution. The Pavilion’s entry features bronze metal text of the nation’s founding philosophy that seems to rise from a page of marble. Rows of embossed bronze columns recall pens in motion, referencing the signatory act that formalized the Emirati unification.
A grand staircase and ramp that echo flowing lines of Arabic script takes Pavilion visitors underground. Once descended, visitors encounter the familiar circular form of Union House through a curving foundation wall, clad in dune-like carved stone. This familiar element becomes the central organizing feature of the museum, a constant reference point for visitors as they navigate the massive permanent gallery and its surrounding spaces.
The flow of movement is further highlighted by billowing white ceiling planes that represent the rippling patterns of the Bedouin winds in the desert sand. Movement is further accentuated by carved wood columns throughout the space.
The museum houses permanent and temporary galleries, a theatre, event spaces, and archival facilities, and the design team placed these rooms strategically, as they have no need of natural light. Meanwhile, two spacious sunken courtyards and four large skylights connect to the ground level plaza, flooding the sub-terranean classrooms, research library, administration offices, prayer rooms, and café with natural light and prevent visitors from feeling stuck underground.
The design team worked to ensure the museum is a space that represents the UAE’s past while creating a site for learning and exchange in the present, and progress in the future.
Located in an emerging part of Toronto’s downtown East, The Bartholomew demanded a design that would attract style-savvy buyers who appreciate an eclectic downtown lifestyle. A home where diversity is not only expected but is celebrated.
Interior Designer: Kelly Cray, ARIDO
Design Team: Margaret Stagg, ARIDO; Eugenia Alvarez, ARIDO
Design Firm: U31
Project Photographer: Jac Jacobson
The challenge was to create inclusive, affordable, yet stylish interiors for a wide demographic: professionals, growing families, empty-nesters, singles, and couples. Another client directive was to have all art and installations throughout common areas of the tower commissioned to local artists to give back and support the local community. Of note, is a unique black “willow”-like wood sculpture that hangs by the side of the concierge desk against black stone, lending understated glamour.
One manner of appealing to a broad range of lifestyles was to deliver serene spaces where residents could interact and relax. Light is essential in creating a variety of moods, and the design team used this element in multiple ways. The concierge desk, for example, features hexagon mosaic tiles under a wash of concealed light, giving it the illusion of sparkling gems.
In the lobby a dramatic ambient light installation over the seating area becomes a feature element. Contemporary furniture selections, fashioned in neutral tones, continue the Zen, yet hip vibe.
Fitting a lounge, a private dining room, and television room in the compact 2nd floor party room presented a challenge. To achieve this, foldable walls were incorporated so each space could be closed off to accommodate private events; alternatively, the entire space can be opened when walls are folded back.
The rooms are visually connected through black wire lighting that appears in each space. The dining area exudes a clean, mid-century modern and Scandinavian feel expressed through light backgrounds, minimalist lighting, and pops of black, including the chairs: they are all different but of the same era, and unify the seating in a thoughtful and playful way.
What’s it like to design a healthcare space for children? Is it possible to infuse that space with imagination and whimsy, while simultaneously following the practical rules of a healthcare setting, such as infection control, times of operation, and safety?
These are the questions that inspired Stantec’s designers to take a unique approach to the redesign of the Women’s Auxiliary Volunteers (WAV) PlayPark at SickKids Hospital in Toronto. The PlayPark is a volunteer-run space for the siblings of young patients who are at the hospital for treatment. Over the years, the much-loved PlayPark had become outdated. Stantec’s designers were tasked with not only updating the look but upgrading the space to be more functional and accessible.
Two of members of the PlayPark design team — interior designer Laurena Clark, ARIDO and architect Olivera Sipka — sat down to discuss their approach and provide advice for others designing similar spaces.
What was different about the SickKids PlayPark, compared to other projects that you’ve worked on?
Laurena: As designers, we always empathize with, and put ourselves in the position of, the people who will use the spaces we design. But with this project, we realized we needed to get to an even deeper level of emotion. SickKids provided us with touching information—like quotes from kids that have loved the space over the years—that made us more emotionally attached. One young man, who is now in his 20s, wrote about how he was so young when his brother began a stay at SickKids, and this young man felt so lost. Both of his parents were busy with his brother’s care, and the young man never got to see his friends. But he had the PlayPark. He wrote about what a joy it was to visit the PlayPark at such a gloomy time in his life. So, redesigning a space that makes such an impact on the lives of young people is a tremendous responsibility. And my kids are the same age as typical PlayPark visitors, between the ages of 4 and 9. So, on an emotional level, that also impacted my design approach.
Can you talk more about your specific design approach for this project?
Laurena: We were doing so much more than designing a “space.” We were creating an experience for those kids and families. We added zones inspired by nature—like a lake, canyon, and hills—so we could bring a park setting to kids that are inside for long periods of time. Also, the PlayPark isn’t just a space that has a certain function. Most of the spaces we design—such as waiting rooms, for example—have specific functions in mind. And, while a waiting room might have some toys and games, those are isolated activities. As soon as you walk into PlayPark, you’re intrigued to explore. We also had to include so much more depth in the design and the activities available because many kids come to the PlayPark for extended periods of time—days, months, even years. We had to pack a lot more in than you might find in a typical waiting room where a child may only visit for a few hours at a time.
Can you tell us more about the zones inspired by nature? What does that look like?
Laurena: We created a forest landscape in the central open space, which features trees made of thick resin panels to create a “leafy” canopy. The tree trunks are a perfect place to wind through on a tricycle. We added a quiet “cave nook,” with fiber-optic twinkling lights in the ceiling, to create the sense of sitting beneath the stars. This is a space where kids can sit quietly when they might not want to engage. It was important to us that kids have choices as they go through a difficult time. The art studio area features a meadow theme with a giant LED panel of tall grasses with lights overhead that look like fluffy clouds. The performance space is designed with curves to suggest hills, with an organic-shaped seating nook and original illustrations.
What’s your advice for others designing a space for children?
Laurena: Open communication. Create an environment of trust and respect so team members feel comfortable throwing ideas out, even if they’re not perfect.
Olivera: It’s about listening. Make sure you listen to kids’ experiences. While working on this project, we listened to children, parents, and even teenagers who used to visit the space when they were younger.
How did you get into the child-like mindset necessary for PlayPark’s redesign?
Laurena: I just had to shut everything off. For healthcare projects, we’re so used to working within the confines of budget, time, and cleanability. So, I had to stop thinking about all the practical things that block ideas from coming freely.
Can you think of something from your own childhood that you brought to this project?
Laurena: I have lots of memories of exploring freely as a child, such as exploring outside, or looking through my mom’s closet and playing dress-up. So, I wanted to bring a feeling of exploration, as well as surprise. During a visit to PlayPark, my kids loved looking through the cupboards and finding the toys that were in there.
Every surface has storage behind it. That alone is an element of exploration. This contrasts with a lot of other pediatric spaces, where you see toys everywhere. It feels busy, and it’s almost overstimulation. Whereas at PlayPark, you have a clean, bright, airy space, and you can interact with surfaces in different ways. All the clutter is hidden. And there’s that element of surprise, as kids discover what’s behind each door.
Do you have any final pieces of advice to offer someone approaching a project like this?
Olivera: Don’t just focus on technology. When designing for kids, we often tend to look at new technologies, such as interactive screens. But with this project, the focus was on play. It turned out to be more of a whimsical place, where kids have opportunities to be themselves.
Laurena: It’s possible to create a fun space while simultaneously working within the confines of a hospital. We designed PlayPark to hospital standards, in terms of infection control. We used all the same materials that other healthcare spaces use—like rubber floors and solid surfaces—and we considered cleaning, like you would in any other area of the hospital. Everything was wipeable. You can utilize those materials in a way that creates an environment that doesn’t look institutional.
This post originally appeared on Stantec.com’s Ideas Blog. The PlayPark project also recieved an Award of Merit in the 2018 ARIDO Awards.
Located in Toronto’s Liberty Village, Carnabys is a jewellery boutique that offers unique collections, bespoke designs, and personal assistance to those who wish to design their own jewellery.
Interior Designer: Johnson Chou, ARIDO Design Firm: Johnson Chou Inc. Project Photographer: Ben Rahn / A-Frame Inc.
The project extends the existing corporate branding, employing black as the predominant colour, while the overall design is intended to convey the refined, bespoke nature of the business. The space is both a jewellery boutique with display cases in a composition that allows multiple options for visual merchandising, and a design studio, featuring versatile cabinetry to delineate more intimate consultation spaces within a retail environment.
Created as an extension of the corporate branding with black as the dominant colour, the space is intended to convey the artisanal, bespoke nature of the business, and is an exercise in restraint and a study in contrast. Contrapuntal concepts include: dark and light, heavy and weightlessness, textured and smooth, refined and found.
This project was awarded an ARIDO Award of Merit in 2018.
Set on a shared forty-acre site, this family cabin project was restricted by several local bylaws on new buildings. A creative solution of erecting a cabin on the existing footprint of the building, conformed to the rules while satisfying the client’s needs for new space.
Interior Designer: Lynn Brown MacGowan, ARIDO
Design Firm: Dlb Design
The exposed steel support was pre-built and delivered on site with building components, combining a post and beam structure with an energy efficient solution. South and west window walls meeting in the corner provided an unobstructed view of the lake and an abundance of natural light, while an east clerestory window provides cross-ventilation.
The reclaimed oak that clads the building recalls its former life on a working farm and blends with the tree bark of the surrounding forest. The concrete floor hides a radiant heating system while small bathroom fixtures and natural light give an illusion of more space overall.
This new build construction of a 15,000 square foot family home for long time empty-nester clients was a rare opportunity. Having lived in this country acreage north of Toronto for over two decades and accustomed to an upscale lifestyle, the design team aimed to create a refined, yet comfortable abode.
Interior Designer: Neil Jonsohn Design Team: Shauna MacLeod, ARIDO Design Firm: U31 Photographer: Gillian Jackson
The foyer is a bold welcome to the home, with extensive marble detailing, including a staircase clad in marble, combined with a custom bronze railing. An abstract sculpture of falling leaves commissioned by artist Dennis Lin, is integrated with ambient light and suspended through the curving staircase, adding unexpected contemporary glamour.
Moving beyond the formality of the front rooms, spaces at the back take on a more casual atmosphere, allowing for daily routine and entertaining. Incorporating white oak and durable porcelain flooring with contemporary furniture forms, Murano light fixtures and a mix of current and antique rugs, the daily areas are at once comfortable and rich in traditional reference.
The kitchen facilitates the owner’s love of and expertise in cooking, featuring an oversized stainless steel hood surrounded by carved limestone. Stained sycamore and off-white lacquer cabinets, semi-precious quartzite countertops and stainless steel detailing create the chef’s dream.
Drawing inspiration from the lush back garden and pool cabana, the inclusion of floor to ceiling windows across the entire back of the house, offer stunning views, while providing an abundance of natural light to the communal kitchen, family and garden rooms. The injection of colour, particularly shades of blue and red, two of the owner’s favourites, ebb and flow throughout the home.
These communal zones are kept light with soft whites and greys, and animated by pops of colour and beloved travel artifacts. For instance, an oversized brass Moroccan vessel, crafted with patterned cut-outs, is transformed into a glowing wall sconce, displayed above the garden room’s fireplace mantel (pictured above).
Private areas are infused with delicate, silvery-blue-grey tones for her, including silk wall covering, while his are characterized by a more robust flavour: walnut wall panelling, black and gold accents and heavily veined caramel and black marble. Vaulted and cove ceilings are intricately detailed throughout, accentuating the 10′ and 12′ ceiling heights. The balance of rich, warm materials: marble, stone, leather and variety of sumptuous finishes expresses a relaxed luxury that the client was delighted to see achieved.
This private residence is situated on prime five-acre property in one of Scottsdale’s premier desert estate communities. Surrounded by mountains to the north, east and west, and vast views of central Scottsdale and Phoenix to the south, the original home was one of the earliest built in this heavily architecturally-controlled community.
Interior Designer: Wayne Swadron, ARIDO Design Firm: Wayne Swadron Interiors Limited Project Photographer: Roehner + Ryan
The home’s architectural styling was ‘Tuscan’ in character, although the interior finishes had been updated just prior to the client’s acquiring the property. The design team reconfigured and re-modelled the existing structure and landscape into a contemporary desert oasis while respecting strict local architectural regulations.
With grand design gestures commensurate in scale to the sprawling (largely one storey) structure, the encouragement of the clients, and the monumental contributions of a fabulous local team, the designers achieved all their goals of creating a home replete with contemporary luxury, incorporating design features that promote indoor/outdoor living, while simultaneously respecting the realities of the extreme desert environment.
Hotel Le Germain Mercer Street in Toronto invited the design team to transform its on-site restaurant, Victor. With the multitude of surrounding condos, this district is quickly becoming a neighbourhood in its own right – within five years, almost 40,000 people will live within a two-block radius- and Le Germain wanted Victor to become a destination for morning coffee, business lunches, and late-night dining.
Before, the space had no connections with the street, and the only entrance to the restaurant was through the lobby. The design was dark, uninviting, and lacked flexibility, and the venue only functioned as a nighttime establishment.
With the redesign, Victor has a distinct and cohesive brand identity. Now, a highly fluid space comprises a dining area with leather banquettes, a chef’s table in a side alcove and open counter beyond, an intimate bar-lounge, and a cafe with communal harvest table – all of which meld and transition seamlessly into the hotel’s lobby, which the hotel also redesigned to complement the new hospitality space.
Custom-designed specialty lighting was central to setting a new ambiance – one that is approachable, universal, and versatile enough to attract both hotel guests, daytime business visitors, corporate event attendees, and special occasion groups taking part in the city’s adjacent entertainment district for concerts, theatre, screenings, and more.
To impart a sense of vitality and character to the restaurant, the design team hung a custom-designed chandelier of brass tubing, strung with white globes, layered and rotating at different angles. The eye-catching fixture swoops above diners and is visible from the street, drawing interest from passersby. It glows in contrast to the gravel-grey ceiling, and visually drops the ceiling height to a more intimate level.
Entering the intimate lounge, hanging wall lights made from brass tubing and white globes maintain a connection to the feature chandelier in the dining room. LED-lit shelves are artfully decorated with crystal, silverware, and bronze and gilt chargers, and deco lamps line the bar to give extra lighting for guests. Even the inevitable television monitors disappear into smoky mirrors when not in use.
In the cafe, a bright palette creates an airy, daytime feeling. White marble counters and a fluted barista station with a glass display case heighten luminosity. Discreet rows of pendant lights hang over the harvest table and add to the guest experience.
Throughout, fabrics and materials were chosen for their ability to absorb and reflect light, including bronze accents, natural stone, warm wood shelving and millwork, plus playful patterned concrete tiling in the cafe floor, soft sage green tabletops, and serpentine banquettes upholstered in tufted, peacock-blue waxed leather.