Nook is a publication by the B

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AiN

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In the tearoom of the Princessehof National Museum of Ceramics, giant ceramic insects colour the white wall. i29 Interior Architects transformed the closed monumental buildings of the museum into an accessible place for inspiration and amazement.

Princessehof National Museum of Ceramics Photo – Ewout Huibers

PAGE 36

Smarter Home–Busch-axcent® –Contrastrijk en levendig

De opvallende accenten van het schakelaarprogramma Busch-axcent® leveren een smaakvol en modern totaalbeeld. Deze serie verbindt een consequent strak design met een veelzijdigheid aan kleuren. Busch-axcent® verbindt uitstraling met kwalitatief hoogwaardige materialen, zoals bijvoorbeeld glas, thermoplast, platina en titanium. De contrastrijke kleuren, die uw stijl consequent onderstrepen, maken het plaatje compleet. Voor elk interieur een passende keuze, busch-jaeger.nl

ABB_ECHT_36.BNINOOK_Adv_Busch-axcent_140_Years_NL_230x297.indd 1 12-07-19 15:46

21-9000-0440-02 BNi/AINB NOOK 2019#3

32081 ORANGE CLAIR

Wereldwijd exclusief: de tijdloze schakelaar LS 990 in de

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HATEHA.NL · JUNG.NLVertegenwoordiging voor Nederland: Hateha Elektrotechnische Handelsonderneming B.V.

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NOOK3 — 2019theme Colour

OO3

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NOOK2 — 2019theme Holiday

OO2

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NOOK1 — 2019theme Research

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publisherNook is a publication by the AiNB and the BNI.

AiNB, Brusselsinfo@ainb.bewww.ainb.be

BNI, Amsterdaminfo@bni.nlwww.bni.nl

edition 1500 copies

ISSN 2589-8442

editorsBureau Bax, Amsterdam

info@bureaubax.nlwww.bureaubax.nl

featured in Nook 3 – 2019 Bureau Kroner architects, Child Studio, Claudia Lagermann,

Marni, Moneo Brock, Janine Meijer, Élise Van Thuyne and Melle Veltman.

translationProduction, La Hulpe

welcome@production.bewww.production.be

conceptSpecht Studio, Antwerpenhello@spechtstudio.comwww.spechtstudio.com

advertising, graphic design and printingElma Media B.V., Broek op Langedijk

Silvèr Snoek - Sales Managers.snoek@elma.nl - www.elma.nl

Elma Multimedia B.V.B.A., MechelenSven Destercke - Sales Manager

s.destercke@elma.be - www.elma.be

price EUR 12.50

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colophonarchive

NOO

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6 interview with Judith van Vliet

‘Colour trends hang in the air’

10 interview with Claudy Jongstra

'Look at colour like a wine connoisseur'

16 visiting Wilhelmine van Aerssen

‘Decorating is a primal instinct’

20 featured project

Mexican colour range

22 project description

Oasis of colour and hope in working-class district of Antwerp

30 interview with Leo Faasen

‘A good colour plan tells a story’

34 featured project

Repetition of scarlet steel frames

36 project description

Modern unity in monumental

hodgepodge

44 featured project

Colours and curves

46 mixing colours with De Vos Verf

'The ingredients are secret'

48 featured project

Pink interior for pizza place

50 project description

A contemporary interpretation of a

brown pub

56 featured project

Warm tones for a homely atmosphere

58 Partners

contents

The many facets of natural stoneBeltrami Natural Stone: over more than 30 years of experience

BELTRAMI NATURAL STONE - SHOWROOM - GARDEN PARK - STONE GALLERY - Venetiëlaan 22 - 8530 Harelbeke - T: 056/23 70 00 - info@beltrami.be - beltrami.be

Opting for natural stone means going for class, exclusivity and authenticity. It is a uniquely versatile and sustainable product that bring added value to your home. Its appeal is unrivalled because nature is, after all, inimitable. Natural stone is vibrant and gives your home a soul; it also becomes more alluring with age.

Natural stone, our nature Beltrami Natural Stone have been specialising in natural stone for over thirty years. Thanks to their own quarries and an international network of natural stone suppliers, these experts offer a varied palette of high-quality natural stone both for indoor and outdoor applications. This translates to a wide variety of top-of-the-line products: floor tiles, wall cladding with stone strips, mosaics or tiles, interior finishings (kitchen worktops, decoration, original chimney cladding, staircases, shower cladding...), façades, driveways, terraces, pool edges, etc.

Creative innovation As a trendsetter and front runner in terms of innovation, Beltrami Natural Stone has a strong focus on the introduction of new materials, special formats, own finishings and trendy colours and structures. For instance, a flair for the dramatic, bold combinations and creative

patterns in floor and wall coverings are all the rage right now and moss/botanic green is the trendy colour par excellence.

No stone left unturnedBeltrami helps you to search, assess and select. To us, every – private or public – project is unique. With the right material and finish, your project will leave a lasting impression. We go to considerable lengths to achieve just that. Sometimes we visit the quarry to select the right stone in person. We do not shy away from a challenge; we welcome it. That is how we have put our own stamp on many clever, exceptional projects. At home and abroad. For homes, businesses and public buildings. For flooring, paving, walls, facades and fully customized applications.

Select your own piece of natureInspiration and fascination are ingrained in Beltrami’s DNA. Customers can visit our showroom by appointment with their (interior) architect to select their very own piece of nature. Our in-house specialists will be more than happy to provide you with bespoke advice as they show you around our 1,650m² showroom and our landscaped park garden. The new Stone Gallery showcases 800 types of natural stone across 3,500m².

BRANDED CONTENT

Executor: Fierens Keukens - Louis CulotArchitect: Desmet LammensExecutor: Wim Verkinderen

2190000026_3_ADV_7491.indd 1 8/07/19 13:59

JOLI - Industrielaan 5, 8520 Kuurne - Tel 056/37.27.16 - project@joli.be - www.joli.be

Online inspiratie en configuratie

Wil je meer weten over ons uitgebreid assortiment? Heb je inspiratie nodig? Of ben je gewoon benieuwd naar onze vernieuwde online configurator?

Stel je eigen combinatie van tafels, stoelen en kasten samen en maak indruk op jouw klanten.

Bekijk onze configurator op www.joli.be

Designed by Mathias De Ferm

WIRE COLLECTION

2180001081_3_ADV_7491.indd 1 8/07/19 11:37

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'Colour trends hang in the air'Text Claudia Lagermann

Images Judith van Vliet

Milan design week 2019, Studiopepe

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Color Marketing Group was founded in 1961. This non-profit organisation has been making annual colour forecasts that look two to three years into the future. In order to do this, it is, in Judith van Vliet’s opinion, very important to keep an eye on what has happened in recent years. “Some colours come back every two to three years; lime, for example, is one such colour. Other information from the colour cycles can also be used for the future. If orange was important last year, there is a good chance that the colour will continue to play a role, although it may differ slightly in tone.” Those changes often go hand in hand with certain influences. Think of politics or economics. “But sustainability also has an impact on colour. Sustainable materials will never be bright orange, because the background colour of those materials makes that chemically impossible. This causes the orange colour to shift and it then features more grey or black tints.”

Combination of colour and material

For Van Vliet, politics and economy are important indicators of the direction in which the world is going with regards to colour. “In times of uncertainty and fear, populists emerge in politics. You see that clearly in Europe, where there is uncertainty about the economy, a possible Brexit, China versus Trump and the refugee issue. It may sound strange to talk about this when discussing colour forecasts, but the subjects you hear and read about every day have an influence on how we feel. It is not possible to draw a direct line to colour, but you do see it reflected in the purchasing behav-iour of consumers. During times when the economy is not performing at its best, people are more inclined to purchase something sustainable that will last a long time. They tend to avoid colours that they might grow tired of, such as bright red, and instead opt for new

If you are to forecast colour trends, you need a broad view of the world. You learn from the past, pick up what is happening in the present and direct your eye for the future. As president of Color Marketing Group, Judith van Vliet keeps a sharp eye on everything taking place on the colour market. “Colour often reflects the universal feeling.”

natural tints. That is to say: not a standard grey, but a warm grey and all types of beige that are enlivened with patterns and a mix of materials.” During times of uncer-tainty, Van Vliet adds, people look for warmth in their home. The combination of colour and material plays an important role here. “A trend you encounter a lot at the moment is brown, off-white and beige tones in combi-nation with soft fabrics. Velvet is one such fabric that use to be used in the past for curtains, but which now appears in all sorts of accessories and on sofas. Other fabrics that are pleasant to the touch are also popular. Because the world outside is getting harder. At home, you want to create a place where you feel safe and comfortable.”

The colour of empathy

Color Marketing Group forecasts the trend colours for the coming years by working closely with around four hundred colour experts from all parts of the world. “We organise several workshops in Europe, Latin America, North America and Asia-Pacific. Around forty local members and non-members take part in each work-shop. They are colour experts from a variety of indus-tries, from the toppers of Akzo Nobel to designers at Yamaha and from pigment experts to professionals in the world of fashion. Everybody is asked to bring two trends or stories with them which they think will play an important role in a few years’ time. During the workshops, everybody presents their chosen trend. The beauty of this is that it doesn’t matter where people live or what industry they come from: there is always a common thread. That may have something to do with globalisation, but it also shows that a climate or a feel-ing is often universal.” What strikes Van Vliet is that you not only see that line in colour palettes, but also that certain words float to the surface. “In the workshops running up to 2020 we spoke a lot about empathy.

Interview w

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That is a counterpoint to the hard and individualistic world in which we live. What you see is that people are increasingly starting small initiatives. They are working together more and, for example, take on voluntary work to help maintain society. Empathy generally translates into warm colours. No blue or green, but often pink tones. And they differ very slightly per continent. In Europe they translate into terracotta pink, while in Asia there are always more soft, diluted colours, so they end up with a soft peach colour. You could say they both come from the same family but still differ slightly from each other.”

The effect of light

The colour forecasts made by Color Marketing Group are communicated in a flat colour palette, that is RGB, CYMK, Pantone/Munsell, Ras and NCS. It is then up to the user to translate those standards to the material with which he or she is going to work. That can prove quite a challenge, Van Vliet knows from experience. “There is no such thing as pure colour. You often see people fall in love with a colour that they have seen on something transparent, but when the colour is transferred to textile, it changes completely because there is no light. Light works with transparency and gives very beautiful effects, but once you have material that does not allow any light to pass through it, then the colour immediately looks completely different. If someone insists on having a spe-cific colour, you can do two things: try to get as close as possible to that colour or choose a shade that is slightly different, but which comes into its own on the chosen material. This latter option must always be subjected to a test: the chosen colour can act very differently on the final material than the colour you had in your head. And if it proves disappointing, you can start the whole process again from the beginning.” Van Vliet often encounters this type of colour problem at the end of the process because many people only think of colour at a late stage. A missed opportunity, she believes. “Scent is the first information that reaches the brain, followed by design and then colour. So if that is not good, you may very well have a fine product or design, but the chance that it will catch on is, I’m afraid, not very great.”

Milan design week 2019, Sé

(WARM TINTS AND SOFT

FABRICS ARE A REACTION TO THE HARDENED

OUTSIDE WORLD)

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9

Interview w

ith Judith van Vliet

Recycling and sustainability

In 2020, Europe is seeing, in addition to beige tones and terracotta pink, the return of lilac. “Officially that’s a shade of purple, but much softer than we were used to in the past. This can be combined perfectly with the other trend colour: light-yellow ochre. Both are warm colours that reflect the spirit of the times.” But recy-cling and sustainability are also, according to Van Vliet, going to play an important role and we shall see this translated into colour for quite some time. “Generation Z is playing a pioneering role in this. If young people know that something is not produced in a sustainable way, they simply don’t buy it. We’ve dubbed a red-beige trend colour that arises from a mix of recycled materials - in particular glass and plastic - as ‘uglyfull’ because, objectively speaking, you could call it ugly, but you are seeing that colour more and more in the world of de-sign. This colour expresses to some degree the rawness of recycled material and the effects that look like flaws: they don’t seem completely finished and sometimes you have the feeling that it has been given a colour by accident. It is not particularly refined, but it is a direc-tion we see in interior design and which, at the moment, is being embraced by early adapters. It is cool because

it responds to sustainability and the personalisation of a product.” Van Vliet is personally a fan of the family of green tones. Although her taste shifts each year based on her colour forecast. “At the moment, lilac with fluo-rescent yellow is my favourite colour combination, but it’s difficult to nail your colours to the mast when you discover so many new colours each year.”

— JUDITH VAN VLIET

Judith van Vliet began her career at Kawasaki Motors Europe B.V. in Hoofddorp, where a colleague suggested that she attend a meeting of Color Marketing Group. That meeting felt like coming home. “Everybody thought and talked the same about colour.” Within Kawasaki she started to specialise in Color Material and Finish. A few years later, she ventured into Italy where she has since 2012 been working as a colour designer for Clariant. In addition she has been working for Color Marketing Group since 2015 and in 2018 was appointed president. She is the first non-US president in the history of the organisation.

Milan design week 2019, Studiopepe, Les Arcanistes

Milan design week 2019, Studiopepe, Les Arcanistes

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Look at colour like a wine connoisseurText Melle Veltman

Images Claudy Jongstra

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From a distance, the studio of Claudy Jongstra (1963) looks like an everyday rural cottage on the edge of the Frisian village of Spannum. The few passers-by come from the farm a few doors along. If you want to knock on the door (there’s no doorbell) you have to wend your way along a small, but lush nursery garden.

Madder from your own garden

But acquaintances know that this isn’t just another cottage. The wool from this studio recently reached the red carpet in Paris, where Viktor&Rolf presented their autumn collection. The art Jongstra produces in felt can be found in a variety of museums, from the Frisian Museum in Leeuwarden to the Museum of Modern Art in New York. The studio’s reception area is at the same time the dye-ing room. Large kettles stand in the corner and a dozen samples hang on the wall. The red fragments made from hemp, stinging nettles and wool, differ only slightly in shade. Tests with madder, explained one of the young employees. The plant is growing in their own garden.The root of the madder gives off a characteristic colour which we recognise from the canvases of Dutch masters such as Rembrandt or Vermeer. Yet today, people gener-ally opt for synthetic alternatives. Madder demands a lot of work, says the apprentice. It sometimes takes years to dry and environmental factors each have an impact on the final result.

Layered colours

Jongstra, who was proclaimed artist of the year 2019 in the Netherlands, explains that she has only been working with vegetable colours for around fifteen years in her extremely busy schedule, she managed to find time for a short interview. “I never really knew they existed, but

From a panorama stretching many metres at the furniture fair in Milan to clothing on the red carpet in Paris. The work of textile designer Claudy Jongstra is sent from the Frisian village of Spannum to all corners of the world. What is her philosophy, and what role does colour play in that?

since I discovered them, I have never made any further use of synthetic colours, Vegetable colours add an en-tirely different dimension.”In addition to madder, she also makes use of colour from onion skins (a gold hue), indigo (from red to blue) and the remains of walnuts (beige). “The temperature or the amount of water you use during the production process all have a major influence on the colour that is ultimately achieved. Vegetable colours are therefore more layered. You learn to look at colours like a wine connoisseur.”

Back to Black

A number of these colour experiments are currently on display in Museum Hof van Busleyden in the Flemish city of Mechelen (exhibition runs until 21 June 2021). But is this colour? In Back to Black, the title of the exhibition, everything is about black, and then particularly the his-toric production process. Black is mainly achieved by an accumulation of the ingredients mentioned earlier, but it is far from simple.“Natural black is one of the most difficult colours to produce”, says Jongstra. “It contains the entire palette.” Together with employees of the Artechne Project (Euro-pean Research Council) Studio Claudy Jongstra decoded fifteenth and sixteenth century recipes for the ultimate black. “But it is not easy today to find all the ingredients. There used to be much more interdisciplinary coopera-

Interview w

ith Claudy Jongstra

(NATURAL BLACK IS ONE OF THE MOST DIFFICULT COLOURS TO PRODUCE

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got sour dough from the baker. Everything contributed to the final colour.”

Against superficiality

The choice of vegetable colours is in line with Jongstra's art philosophy. This has its roots in her student days at the High School for the Arts in Utrecht, where she began to become irritated by the habit of presenting a new col-lective each season. “I noticed that I didn’t really agree with that. It wasn’t about quality - we didn’t learn how to make clothes that you could wear for years on end. It’s as if we don’t care about our things anymore.”Jongstra condemns what she calls ‘superficiality’. “You see it in our language and in our taste. We are seeing

the emergence of a human mono-culture. If I can do anything about it...” As an example, she points to gar-dens filled with gravel or the growing incursion of plastic window frames. “Today, everything has to be mainte-nance free. But what is wrong with fine wooden frames? If you never see how old something is, you will never see the qualities of the material. You can’t see the story in plastic.”

Emphasis on the artisan process

Jongstra wants to make people aware of the materials they use. “Suppose you presented young people with three materials, made of wool, nettles or hemp. Most won’t see the difference.” In an effort to change that, she is doing a project with school-children, “They learn about how textile is made, from the fibre to the product and from the flax plant to the threads.”Sustainable design with an emphasis on the artisan process, that’s how best to summarise Jongstra’s vi-sion. Although she readily admits that she isn’t always completely sustainable herself. “I fly to American almost every month. It’s an important market for my compa-ny. Around 90 percent of my assignments come from there.” She’s not completely comfortable with it. “It doesn’t make me happy, no. That is why I’m working on

(WE ARE SEEING THE

EMERGENCE OF A HUMAN MONO-CULTURE

)

A Space for Being, Google Design Studio Installation, Salone del Mobile 2019

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being represented there. After all, you have to try to be as sustainable as possible.”

Wool humanises spaces

The definite turning point in Jongstra’s thinking only came after she had completed her studies. It was during a visit to an exhibition at the Textile Museum in Tilburg in the mid-1990s. It featured Mongolian nomad tents, also called yurts, made of wool. “At the academy we worked with silk or linen. But we never made use of wool. Even though it is one of the oldest materials in the world.”Initially she worked in Utrecht, but nearly twenty years ago she moved to her studio in Spannum. There she makes use of wool from Drenthe Heath Sheep from the Frisian village of Bakkeveen. The sheep belong to the oldest breed in West Europe, but worldwide there are fewer than a thousand. They are mainly kept for land-scape management.Jongstra praises the versatility of wool. “It has a quality that you no longer see very much in the world of clothing and architecture. Wool not only has acoustic qualities, it is also a regulator of moisture. It absorbs water when it is wet, and releases it when the air is dry. Wool humanises spaces. It brings a certain comfort to people.”

Treatment rooms

Her vision has been recently supported by science. In collaboration with Google Design and the Johns Hopkins University the heart rate and temperature of visitors to the furniture fair in Milan was measured. The work by Jongstra, a wool tapestry stretching around 16 metres, was part of the Google installation entitled A Space for Being. The test results showed that visitors to this living room were relaxed and felt at ease. Together with the scientists they studied how, for exam-ple, treatment rooms for victims of domestic violence could be made more attractive or ‘warmer’ by making use of her woollen tapestries. “Often people ignore what

a treatment room looks like, but a room with a soul does something to you.”

Tactility

You also have to take into account the tac-tility of her work. Tactility? “It is about how something feels, about the tactile feel. It has disappeared from our jargon. We are no longer conscious of it.”Jongstra maintains that every work demands its own tactility. “In a treatment room, people prefer gleaming, refined materials. That ani-mality doesn’t work there.” She prefers to make art on the wall of a restaurant smooth and painting-like, while she sets to work in a totally different way for a museum. “Then it is more an autonomous work of art, and you can make a

statement with wool from special breed of sheep.”Despite all the colour tests - high on her list is the wish to do something for a blind institute. Then it all revolves around feeling. Her aim? “Waking sensitivity.”

— BACK TO BLACK

Is black always black or are there nuances? What is the difference between soot black, pitch black or jet black? And why are these variations given these names? The exhibition Back to Black in Museum Hof van Busleyden in Mechelen explores the historic meanings of black and investigates with the visitors the current experience of Burgundian black. More information can be found at https://www.hofvanbusleyden.be/back-to-black en op www.claudyjongstra.com.

Earth, SFMOMA, 2018

Interview w

ith Claudy Jongstra

Timeless by Tradition

SIEMATIC LIFESTYLE CLASSIC | siematic.com/showrooms

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Elk succesvol project begint met een visie.

Working well.

is part of

1_2_li_202x134_fc_B.indd 1 23-07-19 11:54

nv Argent Alu sa | Bankstraat 2, 9770 Kruisem - BelgiumT +32 (0)51 74 04 20 | info@argentalu.com | www.argentalu.com

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‘Decorating is a primal instinct’Text Bureau Bax

Images Wilhelmine van Aerssen Agenturen

John Derian

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Across from the Yeoward collection, space has been made for a selection of the newest interior designs from Christian Lacroix, who also operates under the flag of the Designers Guild. His textiles and wallpaper panels are brighter and have more contrast. Geometric

Visiting w

ith Wilhelm

ine van Aerssen

“Look”, says Wilhelmine van Aerssen as she throws open a large sample book. “This is the newest of the new: spicy, earthy shades, but also pastel colours. Black, pink, purple, copper and turquoise used in floral designs and geometric patterns. Fabulous.” Thirty-eight years ago, when she used to go from shop to shop with three Tricia Guild sample books under her arm, Van Aerssen couldn't imagine that her company would grow into one of the largest agencies in Europe for interior textiles, wallpaper, curtains, furniture, lighting and accessories. As the representative for no less than seventeen leading brands, including Designers Guild, Osborne & Little and Nobilis, she knows like no one else what's available now and what's coming onto the market next. “The suppliers that I represent work seven years ahead. They make what they think is beautiful and strive for quality and sustainability. They aren't sensitive to trends, but at the same time, they are the biggest trendsetters.” Van Aerssen walks ahead in her showroom. Different kinds and sizes of fabric samples are lying and hanging everywhere: from basic, easy clean and recycled to decorative and inspired by the Dutch Masters. In between, colourful furniture pieces, sofas, chairs, tables and beds are complemented with all kinds of accessories like cushions, mirrors and vases. An uncountable number of lamps in styles that run from classic to modern hang or stand. Every corner and every wall of the showroom is used. The layout of the spaces is arranged per brand. The collection of the recently deceased William Yeoward, who designed for Designers Guild, is presented as a regal-looking living room. Van Aerssen speaks of Yeoward as a good friend who also helped her with the layout of her showroom. His collection consists of, among other things, richly embroidered materials, floor coverings, classic furniture and wallpaper with elegant patterning. “His crystal glasses and vases as well as his striking table and standing lamps are enormously popular in America. He is really a star over there. He worked ten years ahead and so we'll be able to enjoy his designs for a while yet.”

Flowered, striped, checked, solid, soft, rough, shiny, matt. With more than 750 m2 of interior fabrics, curtains, cushions, furniture and lamps, Wilhelmine van Aerssen's showroom is a Valhalla for interior architects. “Twice a year we introduce the newest collections and we completely redecorate the showrooms.”

Designers Guild

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“People need colours and patterns,” says Van Aerssen. “Decoration is a primal instinct.” The ancient peoples of the world decorated their bodies with tattoos, paint, piercings, beads and jewellery; even their dwellings were decorated with colourful fabrics.” Van Aerssen thinks that at the academies there is too much emphasis on ‘cutting the crap’ and on teaching how to think ‘empty’. “It's resulting in interiors becoming all identical and clinical. Rooms get their ambience and identity through fabrics, colours and patterns. Even a chicken coop would become a bit cosier right away, if you were to hang some fabric and place a few cushions in it.” When Van Aerssen launched her company in the 1980s, there was little available in the area of interior textiles. On the contrary, in England, France and America she saw that companies making exclusive, decorative fabrics were growing strongly. “In the beginning I was a voice crying in the wilderness”, she laughs. “But I came up with a plan. I was leafing through magazines like Margriet, Avenue and VT-wonen, which at the time was a kind of do-it-yourself magazine. True interior design magazines did not yet exist. Together with photographer John Vaughan, who was familiar with the English interior design magazine The World of Interiors and the American House & Garden, I made a first interior article for Avenue. It was about the ‘Greetings from Holland’ Nobilis

Osborne & Little

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Visiting w

ith Wilhelm

ine van Aerssen

chair by Rob Eckhart, which I upholstered in a fabric with tulips on it.” Her approach was effective. Gradually, there was more and more interest for the brands she represented. Originally she represented only Designers Guild, but Nobilis and Osborne followed shortly thereafter. And various lifestyle magazines also came onto the market. Van Aerssen's idea to organise a fair for country house interiors, resulted in the Residence magazine. “I also began ad campaigns, something that was revolutionary at the time. And I approached hotels. I really worked to build the name recognition of the brands.” Quite soon her house became too small to operate from and she moved in with her brother who had his own company. She's now been on the Hoogte Kadijk in the centre of Amsterdam for 20 years. It's the place where she advises and takes evident pleasure in guiding interior architects, stylists and industry specialists around; and where they can order what they need from her directly, or from one of the 325 shops with whom she works. She also gives presentations, mentors interns and provides lessons about fabrics for interiors. “You have to see this. This just makes you happy”, she says, while she picks up a flowered cushion. “The front and back are different.” It's a design by John Derian, an American collector-artist who started designing interior collections for Designers Guild three years ago. “He is totally hip and hot with the younger generation, but actually very classic.” Further ahead, she pulls open a number of ceiling-high cupboards. “This is for the press”, she explains. The cupboards are full of fabrics and rolls of wallpaper which stylists and photographers love to use. “We always make sure that there are samples from all the new collections here. Interior architects can also borrow them to show them to customers.” She orders a cappuccino from Cathy Visser, her right hand, and walks to her office to retrieve the book Stoffen in het interieur (Fabrics in the Interior). “All the questions that I've been asked over the years are answered in this book. It took me six years to write, together with Chris Halsey, the technical director of Designers Guild. It is full of tips and tricks. I wanted to pass on my knowledge in this way, above all because there are no proper courses in the area of fabrics anymore.” The book covers the origin, production, qualities and characteristics of cotton, linen, wool, silk as well as artificial and synthetic fibres. It also tells about how fabrics must be maintained, how they can be applied in interiors, and which techniques can be used with them. And in the back, there's a comprehensive glossary. “It is my life's work”, says Van Aerssen. “A handbook for everyone who works, or who wants to work with fabrics.” “Sorry, this place is a bit of a mess. We are going to change everything around again in order to present the newest collections.” Van Aerssen speeds up. “All the stripes that you see here are typical for Ralph Lauren. It's very classic, but applied in a modern way, so still very innovative. And these colourful flower patterns are from Matthew Williamson who designs for Osborne & Little. Fabrics from the Portuguese brand Pedroso

with many linens and vintage designs also hang in the showroom. This department is completely devoted to Nina Campbell; classic with a contemporary twist. Among the fabrics are some textiles that have been around for forty years. You know, the interior architects stand here salivating”, she laughs. “And here you see the Nobilis collection. This French company has been around for more than a hundred years. The fabrics look contemporary, but they refer back to traditional techniques.” Over the years, Van Aerssen has seen everything coming, going and returning in a new form. “What comes onto the market has a strong relationship with the spirit of the times. If you're talking about colours and patterns, then you'll see for example that in times when the economy is not doing well, they become more sober, and following that there is usually a period in which there is a need for bright colours and busy patterns. It comes in waves.” Is there ever anything in all those collections that she doesn't find attractive? “Oddly enough, that rarely happens. There's quite a bit of interest in vegan leather, or fake leather, at the moment, but I can't get used to it.”

Foto: Peter Kooijman

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Mexican colour rangeText Moneo Brock

Images Adrián Llaguno

Commissioned by the Technological University Monterrey, Moneo Brock designed the house Casa Tec 205. For the colourful design, the international architecture studio was inspired by the use of colour in Mexico from its vernacular architecture to that of the masters Luis Barragán and Ricardo Legorreta. The colours used in Casa Tec 205 are complementary to the architecture and at the same time a recognition and tribute to this colourful heritage. The pigments applied to walls run inside and outside emphasizing their autonomy and determining the character of each space. In some rooms, vibrant wallpapers are used that create murals to provide colour and design. In others Mexican tiles with geometric patterns and bright colours have been placed. Some of the products included with the house were designed by Moneo Brock, including the colourful, geometric carpets and the ‘PlexiJazz’ screen of translucent acrylic and coloured vinyl, which receives visitors in the entrance hall and establishes the general character of the interior design. Finally, the greenery in the house is striking. Four trees that were already there before construction began were included in the design.

Featured project

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Project Casa Tec 205Location Monterrey, MexicoClient Technological University MonterreyDelivery January 2018Architect Moneo BrockWebsite www.moneobrock.com

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Oasis of colour and hope in Antwerp working-class districtText Janine Meijer

Images Olivier Anbergen

Each week, more than a thousand young people visit the Urban Center in the Antwerp district ‘t Kiel. The building had been neglected for years. But now it is the beating heart of the working-class and multi-cultural district, thanks to the interior designers of Out Of Office. With a minimum budget they were able to turn the open space into an exceptionally dynamic and colourful whole.

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Project Description

“Wow”, exclaims a blond girl of eight as she pushes open the swing door of the Urban Center. “I want to come and dance here.” In front of her is 1000 m2 of open space, painted in bright colours. Light enters the building on the left and right through large, tall windows and shines on the red floor. The ceiling is coloured blue and the walls mint green, bright yellow and red. Right at the back there is a large stage. It is a black area surrounded by blue. The “wow” is exactly what the people of Out Of Office had in mind when they set to work on the building’s interior. “We wanted to surprise the visitor”, explains founder and director Anouk van Oordt of Out Of Office as she gives a guided tour of the building. “Our assign-ment was both simple and complex: create a space that inspires and excites the visitors, but there is no budget.”

Primary colours

They weren’t lying when they said no budget. The Urban Center is home to Let’s Go Urban, an organi-sation that challenges young people to take control

of their own lives. After school, they can come to the Urban Center and take dance and singing lessons, become proficient in various other urban disciplines, receive tutoring and ask advice. At the helm is entrepre-neur Sihame El Kaouakibi, who handily uses her con-tacts to give the young people as many opportunities as possible, but always has more plans than money. “I got to know Sihame during a trip to Portugal with 72hours reload”, explains van Oordt. When Sihame told her story, I didn’t hesitate for a second and suggested designing and fitting out the Urban Center pro bono. The first time I saw the building, I immediately fell under its spell.

(THE HALF CIRCLE IN THE

CEILING SEEMS TO BE MIRRORED UNDER THE

WINDOW)

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The combination of the space, the light and the old structure was exceptional. Back in Brussels, the team set to work intuitively with the primary colours of red, blue and yellow and we made a number of drawings.

Powerful yellow accent

Out Of Office has developed its own way of working, explains van Oordt. “We always work in a team with co-workers with different backgrounds: think of designers, architects and communication specialists. Generally I start up the project with my team. After an initial design, I pass it on to the next team without giving much explanation. The advantage is that they can translate it into the next stage with a fresh and open mind and come up with unexpected creative solutions.”A striking feature is the recess in the ceiling half-way along the hall near one of the large windows on the right-hand side of the building. Out Of Office painted the round recess yellow, together with the window frames and the wall around the window, as well as a half circle under the window. The windows themselves were covered with a yel-low foil. The result is a very powerful yellow accent. The half circle in the ceiling seems to be mirrored under the window. And the light that falls through the window spreads a yellow glow on the red floor.

Intuition and energy

Directly opposite the window is an emergency exit. This too is painted in the same yellow with

a triangle adhered to it on the wall and a half circle on the floor in which you can recognise the shape of the window above the emergency exit. It is as if a yellow ray of light shines through the window and is reflected on the ground. Striking red, mint green and blue accents have been ap-plied in other places. The stage is a black box that, when correctly lit, attracts the full attention of the audience. “At Out Of Office it is all about intuition and energy and the interaction between shapes, colours and dimensions”, continues van Oordt. “The yellow area above the swing doors used to be smaller. We enlarged it later. Why? I can’t explain. We polish and shift things around until it feels right. It is like a work of art. It is difficult to retrace how it came into being. You look at the forces in the build-ing and then emphasise them with the right colours.”

Original state

The Urban Center was built in 1912 by the Ant-werp-based architect Emiel Van Averbeke who initially designed in the Art Nouveau style but was later inspired by the rationalism, following the example of the well-

(THE LIGHT THAT FALLS THROUGH THE WINDOW

SPREADS A YELLOW GLOW ON THE RED FLOOR

)

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Project Description

known Dutch architect Hendrik Berlage. For many years, the Urban Center was an Orangery until, in the fifties, it was converted into a multi-purpose event hall where parties and jumble sales were held. A few years ago, Sihame El Kaouakibi was able to convince the city of Antwerp, which owns the building, to loan the building to Let's Go Urban on condition that the latter would renovate it. “The building desperately needed a facelift”, explains El Kaouakibi. “The existing structures, such as the roof, needed replacing. Many old elements had been destroyed. On one side, the windows had been bricked up to block the noise from the street. We installed new windows throughout, re-wired the electricity, reinforced the stage and restored everything as far as possible to its original state.”In total, the renovation cost 800,000 euros and was paid partly by the city of Antwerp and partly by Let’s Go Urban. The first stage of reconstruction took five months. In September 2018, the Urban Center was officially opened with a big party.

Light structure of glass and concrete

The Urban Center is an oasis of colour and hope in the poor working-class neighbourhood of 't Kiel, to the south of Antwerp's city centre. ‘t Kiel has several beau-tiful buildings designed by architect Renaat Braem in

the post-war years. But there are also many small and badly maintained workers' homes. The imposing colour scheme also caught the eye of the jury for the Frame Awards. In 2018, they nominated the Urban Center in the category ‘Best use of colours’. The idea was to let out the Urban Center to third parties in order to defray the operating costs. But that hasn’t been very successful. The aim is to change this next year. The new building next to the Urban Center must be ready by then. According to El Kaouakibi, this building will have a completely different feel about it. “It is a light structure of concrete and glass. Very sober and simple with various small rooms for dance and music studios. There will also be a café run by the young people themselves where people from the neigh-

bourhood can meet or work.”If everything goes according to plan, the new building will open its door in February 2020.

— MET PLAIZIER OF OUT OF OFFICE

Some companies frame their standards and values and hang them on the wall. Out Of Office thinks up concepts for their clients which makes that superfluous. The concepts bring the standards and values to life, both in design and behaviour. At the same time, Anouk van Oordt's company is strongly committed to stimulating entrepreneurship among children and open innovation in the business com-munity. “We want to build a bridge between the business community, the government and schools.” Part of the new office of Out Of Office in Ukkel near Brussels has been freed up for Met Plaisier, a co-home working space. “We want local residents, children and people from the business community to come here and work together. The intention is to create a brand with Met Plaizier and roll out the concept in different places.” www.weareooo.be

(YOU LOOK AT THE

FORCES IN THE BUILDING AND THEN EMPHASISE THEM WITH THE RIGHT

COLOURS

)

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‘A good colour plan tells a story’Text Claudia Lagermann

Images Ossip van Duivenbode (Market Hall)

MVRDV, Market Hall, Rotterdam. The ceiling of the Markt Hall is the largest artwork in the Netherlands at 11.000 m². Foto: Ossip van Duivenbode

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Which colour trends and developments do you see at the moment?

“I honestly have to say that I keep my eye on colour de-velopment, but I feel increasingly less engaged with it because it evolves so rapidly. Nowadays, several colour trends are established each year, and these in turn are developed within mood themes. Various manufacturers and specialists think up names for the colours or call it ‘the colour of the year’. If you get caught up in that, you can modify your colour plan every single year. If you don't do that, the trend colours you used previously can relate differently to each other than they did a few years ago when they were first applied. If you want to be trendy, I would advise you to use the fashionable col-ours in parts of your interior - think of walls with paint or wallpaper and accessories - so that you can easily change them when the trend becomes old-fashioned without requiring enormous costs. If you want to invest in qualitative furniture, say a design sofa, you can better opt for a colour and design that is less prone to trends.”

How do you develop a sustainable colour plan that resists the test of time?

“In his book The architecture of happiness, the Swiss philosopher Alain de Botton wrote that every interior has a story. When you make a conscious use of mate-rials and colour in a building, you can tell a story that is authentic. You have to take a wide range of things into account when doing this. The choice of contrast between light and dark is, for example, very important. Where do you use light colours and where do you use dark colours? Which colours do you allow to blend with each other and which do you strictly separate? How do you allow colours to echo in the rhythm? You can also

Developing a colour concept for an interior could, according to colour specialist Leo Faasen, be compared to composing a piece of music. “It is important that you search for order and the proper rhythm, but also that you impose a personal identity with colour. A well-conceived colour plan can last for decades.”

include something that will have a place in the room or will be hung on the walls in your colour analysis. Think of a stained glass window or a work of art. The colours featured there can be translated into the interior. Pick out an orange detail from a work of art and use it in a curtain, cushion or a lampshade. In this way you can make the story personal, you create an extra dimension and you reinforce the feeling of coming home. This co-hesion allows the colour plan to have a longer life.”

Doesn’t the use of many colours make a room feel hectic?

“Study books tell you: white is calm and colour is hectic. I understand that from the viewpoint of symbolism, but I simply don’t understand why white interiors have become so glorified in recent years. This is particularly true when you think back to the refined colourful past of, say, the art nouveau and art deco periods. The Mar-ket Hall in Rotterdam is a fine example of a colourful public space that works well. This is not only because the area itself is large, but also because the colours are correct. Compare it with a bag of Smarties: if there’s a lot of colour, it brings order. This is all to do with colour-value dimensions, lightness and saturation. You also see this in LEGO: if you remove the yellow block, everything looks much more restrained. Red, green and blue are close together in colour intensity, only the yellow one stands out. This is used as a contrast colour. You need that, because you use the difference to

Interview w

ith Leo Faasen

(EVEN LEGO THINKS

ABOUT COLOUR VALUES AND CONTRAST CHOICE

)

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more dynamic. If you are not yet sure which colours you want to use in the interior, you can always think in ‘contrasts’ in grey tones. By imposing order, you can achieve cohesion and variation, which you can later translate into colour tones.”

To what extent do you have to take light into account?

“Colour is never constant. You shift it with lighting and by the way in which light enters a space. For this reason you could, for exam-ple, decide to paint a wall which is bathed in natural light in a somewhat more intense shade of your chosen colour. The chosen colour will have a slightly different appearance because of the light. When you move farther from the window - where there is little or no natural light - you can then make use of the colour your origi-nally chose. That will appear fractionally darker, and the result is that the two colours will finely complement and blend into one another.”

What can sometimes go wrong when dealing with contrast in colour?

“Something you often overlook is the ceiling. Most peo-ple leave it white while the rest of the room is adjusted to reflect the total colour scheme. I sometimes call it a shoebox without a lid. The idea behind this choice is that it makes the space seem larger, but actually it results in a restless contrast. When using colour on ceilings, a greyish tone derived from light blue often works very well. You could create an indoors-outdoors feeling with it. But you could also opt to use the colour of the walls or a tint derived from it on the ceiling. Incidentally, something else people often forget are the skirting boards. In many interiors you see a white skirting board that stands out sharply against the coloured wall. If they are used against a dark wall, they immediately attract attention, even though they have no aesthetic function at all. This can be easily solved with colour or you can handle the skirting boards in the same material or colour of your floor cover-ing. In smaller rooms this has the additional advantage of optically increasing the size of the room.”

What do you have to take into account when developing a colour plan for a public space?

“It’s nice that people feel comfortable in such areas too. And can quickly find their way. Colour can help. Multi-storey car parks are often a maze, and it can prove quite a challenge to find either the exit or your own car. You can’t solve that with an extravagant use of colour. It may perhaps look very functional when the car park is empty, but once it fills up with cars, you lose sight of the structure and therefore any over-all perspective. What works better is a clear colour scheme, such as light grey tones for the lanes and an

MVRDV, Market Hall, Rotterdam. The central escalators of the Market Hall contain an integrated exhibition of the archaelogical artefacts found on the building site. Foto: Ossip van Duivenbode

Torre Agbar, Barcelona. Foto: saiko3p (123RF)

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Interview w

ith Leo Faasen

anthracite colour for the parking bays, which in turn results in ‘less visible oil stains’ when cars leak fluids. Areas that need to draw attention, such as entrances and exits or the location of the payment machines can be given a striking accent colour, so it’s clear at first glance where you need to go.”

So a good colour scheme helps create order in the chaos...

“Exactly. Offices are a good example of that. Many companies have a great canteen where the colours match each other very well indeed, but if you then take a look at the work places, you regularly find they have furniture that doesn’t match in design, dimensions and use of colour. You can bring some unity here by not only tackling the colours of the walls, but also by rearranging the various pieces of furniture in the working areas. For example, group all dark cabinets together in one room and all the light-coloured ones in another and adjust the colours of the walls to the furniture and the users. In this way, everything immediately looks a lot better.”

Colour - or a colour plan - is something abstract. How do you make it tangible for clients?

“If you choose a colour palette based on a substantiating story, you have to take your clients or users through that story step by step and gradually introduce more visual support. I often take nature as my starting point. It has everything that can form the basis for a colour compo-sition: order, cohesion, harmony and variation. The good thing about nature is that it is also something specific and you can show this in a photo in order to explain where the feeling comes from. For example, a wood in green, yellow and red tints or a beach in beige, blue and orange tones. In this way, you bring the story and thus the colour concept to life and show how colour combina-tions that seem less obvious can coexist perfectly.”

If we turn to successful colour concepts, which public building appeals most to you?

“Torre Agbar in Barcelona. The outer skin of this tower is composed entirely of panels of coloured glass with

aluminium awnings that reflect the sunlight. This causes a constant change in colour during the day, and at night the tower has an altogether different colour operation because then the lighting comes from inside. When you look at it, a whole lot takes place in its seem-ing simplicity. That’s what makes it so special.”

— LEO FAASEN

Leo Faasen has, as colour specialist, been active in the colour world for more than 35 years. He has learned all facets of colour: from paint technology with which he controls the technical quality of colour to interior design in which he applies these qualities. As owner of Fasiani BV, Faasen assists anyone who wants to bring colour to his or her environment. This can be done in various ways: from colour advice to drawing up an Emotional Schedule of Requirements and from developing colour concepts to knowledge transfer. www.fasiani.nl

(A WHITE CEILING IN A COLOURED SPACE IS LIKE A SHOEBOX

WITHOUT A LID)

Torre Agbar, Barcelona. Foto: nito500 (123RF)

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Repetition of scarlet steel framesText Élise Van Thuyne

Images Filip Dujardin

Élise Van Thuyne renovated and transformed an old coach house dating from 1907 on the domain of a charming belle époque villa into a contemporary artists’ studio. The original building sported some adorable features: old-style brickwork on the outside, a touch of grandeur in the coach gates, the view of the garden with beeches and acacias, an impressive twenty metres of windowed walls, a set of curved wooden stairs, and small details like the elegant stained glass owls. Van Thuyne launched the building into the twenty-first century while preserving its original character. The old wooden staircase as well as the repetitive arch of the windows, accentuated in scarlet steel, have a central place in the design. The perpendicular wall is ‘cut’ open and replaced by a large glass wall with a view of the garden. Three separate volumes can be created using sliding translucent panels in the inner walls. The result is a contemporary multifunctional space that still breathes the spirit of the former coach house. As a whole, it is spacious, but it comprises four distinctive rooms: an office, a workshop, an exhibition space and a storage room. All in all, an irresistible hangout for an aperitif on sultry Summer evenings.

Featured project

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Project Muller Van Severen StudioLocation Evergem, BelgiumSurface 125 m²Completion 2017Interior architect Élise Van ThuyneWebsite www.elisevanthuyne.be

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Modern unity in monumental hodgepodgeText Melle Veltman

Images Ewout Huibers

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Project Description

It was certainly no run-of-the-mill job; Jansen knew that it advance. “It was quite an ambitious plan.” On the one hand there was the time pressure, for the mu-seum had to open its doors no matter what by the end of 2017: that was still in the centennial year of the mu-seum’s founding and before 2018, when Leeuwarden would be calling itself the Cultural Capital of Europe. “We were in a complete bind. The deadline was ab-solutely sacrosanct.” On the other hand, there was the history. “It is a really beautiful monument", says Jansen about the Ceramics Museum, which is actually made up of a series of semi-detached buildings.

Princessehof

One of these is the Princessehof, the eighteenth-century city palace of Maria Louise van Hessen-Kassel, the re-gent of Friesland. She was a fanatic collector of ceramics - and that was why, one hundred years ago, the build-ing was rechristened as ceramics museum. The palace of the Oranjes still has remains of a sixteenth-century stins, a typical Frisian fortified building. The museum also consists of a nineteenth-century wine warehouse, a stepped tower and the seventeenth-century Stadholder Riding School. “And then there is the house where the well-known graphic artist Escher was born in 1898. All in all, quite a melting-pot.”This conglomeration of building styles gave rise to some peculiarities within the Princessehof Ceramics Museum. “There was a highly illogical flow for the visitor”, added Jansen. “It was something of a maze. There was very little daylight and things were dotted about everywhere. The tea room had no access to the outdoor area and the cash desk was not connected to the shop.”

Light and open

In the old situation, visitors entered via the stately palace entrance. There was little room for anything more than a cash register. Clumsy, thought Jansen and his colleague Jeroen Dellensen. “Because if you had arranged to meet somebody, you had no choice but to wait at the desk.” So the layout had to be altered. “I wanted spaces where people would feel comfortable. Spaces where you can wander around. Pleasantly light and invitingly open.” The main entrance shifted a few metres to the west with direct access from the Grote Kerkstraat.

The budget was small and the deadline strict. Yet just a few months proved sufficient to transform the Princessehof Ceramics Museum in Leeuwarden from a dark maze into a beacon of light and space. “I wanted to make sure that people feel good here”, said Jaspar Jansen of the Amsterdam interior design agency i29.

(GREY TINTS AND MATT

MATERIALS GIVE AN ‘EARTHY FEELING’

)

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palace garden, which also underwent a facelift. A wall and a stairwell were removed from the building in be-tween. The result is a single, spacious, oblong hall bathed in light. “From the street, you now see one clear line.”

Accessible

Everything is now centred in this reception area, from entrances to cash desk and from museum shop to tea-room. And these are also open to people who are not vis-iting the museum. “It makes everything so inviting. You can now spend time in the museum without having to visit the collection. The idea is that you can then seduce people to pop in anyway.” The accessibility is reinforced by the addition of ramps, so that the museum is more easily accessible for wheelchair users.In the tearoom there are fresh pastel-coloured shelves, but for the rest, everything is finished in mainly light matt grey tints. The neutral colour scheme draws attention to the items from the museum shop and the huge ceramic insects on the wall. The materials chosen include not only wood and steel, but also hpl, a plastic that further contributes to the matt appearance.

Earthy feeling

The clean, sleek, minimalist style for the renovated museum shows great similarities with other projects un-dertaken by interior design agency i29. “This is my first museum”, says Jansen, who has designed everything from housing to offices and from schools to social work-shops.A number of major design interventions clearly show that this is not an off-the-shelf solution. The grey tints and matt materials are intended to create an ‘earthy

feeling’ - a reference to earthenware. And if you look at the horizontal lines, you also see how the shades of grey blend together - a reference to the earth’s layers.“A building always has a story”, explains Jansen. “Our initial challenge is to draw it out, rather than to impose it.” The references to the function of the building never-theless remain subtle. “It is something of a game. I like it when things only fall into place later.”It wasn’t, by the way, difficult for Jansen to become ex-cited about the subject. He sees the similarities between pottery and his own profession. “Ceramics is an applied art. That’s also of course the case with architecture.”

Unity in space

The simplicity of design had to forge the variety of build-ing styles into one whole. But at the same time it should not distract too much from the wide variety of exhibi-tions. “The breadth of the collection is very wide, from historic Chinese pieces to Dutch design.”What’s more, i29 wanted to infuse the design with ‘a certain timelessness’. “For me, a museum is an oasis of peace and quiet. The design must have something sacral about it. Unity in the space, that was the starting point.”The unity continues through to the permanent exhibition, such as in the mass production room. The stacked white boxes are, according to Jansen, “a reference to the crates that travel around the world.” The light tints contrast with the countless stoneware objects from Maastricht. “It is

vast and overwhelming. The idea is that the stacking totally encloses you.” In the adjacent room, about art nouveau and art deco, the experience is almost the exact opposite. It is dark and lamps pick out the pots and vases in their pale black display cases, which makes them seem to float. “This doesn’t emphasise the quantity but exactly the uniqueness of each object”, explains Jansen. “These pieces really have to stand in isolation.”

Clear mounting

How much did the i29 pro-ject cost? “I’m not going to

(THE MUSEUM IS

INVITING; PEOPLE ARE SEDUCED INTO ENTERING

)

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Project Description

mention any amounts, but we had a very limited budget. We had to do it all with limited means”, says Jansen. The total renovation cost in any case 1.4 million euros, but all the other interventions are also included in this. Under the supervision of the Frisian agency The Ambassadors of Aesthetics, for example, the old palace entrance, now the ‘introduction hall’, was restored in historic colours, including hand-painted Chinese wallpaper. The marble floor was replaced with wood, since this was the situa-tion in the time of Maria Louise of Hesse-Kassel. The whole presentation of the collection has been modified, with fewer display cases and a clear mounting. Objects are better situated in the context and there is a clear chronological and geographical line that leads from Chinese porcelain to the ceramic works of Picasso and Karel Appel. The palace gardens were also renovated based on examples from the eighteenth century, with many diamond shaped designs. The garden, which used to consist of several gravel beds, now forms not only a passageway to the second entrance. but also offers a place for enjoying a summer cup of tea.

Re-use

“The limited budget was sometimes an obstacle”, acknowledges Jansen. “You had to think each time: is it really necessary to spend money on this? That’s what caused us the greatest headache.”A lot of things had to be reused. For example, i29 would have liked to acquire new museum furniture, but to save costs, the old display cases were retained. They were, however, repainted in a darker shade. “We always aim for two hundred percent and you never get it. But when you return later, you forget all that. It was quite something.”

(BECAUSE OF THE

LIMITED BUDGET, YOU CONSTANTLY ASK ‘IS THIS

REALLY NECESSARY?’ )

26 NOVEMBER 2019www.dagvandeafwerking.be

Voor wie is het?Alle professionals die bezig zijn met afwerking. Van plaatser tot ontwerper.

Waar is het te doen?In de ruime hallen van de Brussels Kart Expo in Groot-Bijgaarden, van 9u30 tot 19u00.

Wat valt er precies te beleven?Er zijn ruim 140 standen en een demotent. En je geniet er van een gemoedelijke sfeer met gratis bu� etten en drank.

Meer informatie en inschrijvingen als standhouder voor dit unieke evenement via steve.caufriez@confederatiebouw.be.

U wil wel eens kijken, ruiken of voelen?Geen betere gelegenheid dan een vakbeurs en netwerkevent om alle nieuwe trends en technieken op het vlak van interieur en afwerking te ontdekken.

save the date

2180000980_1_ADV_7491.indd 1 5/07/19 19:45

ARTURO RESIN FLOORSwhat a floor can do.

Arturo produces resin floors that perfectly match the function of the room and translates all requirements and wishes into a completely unique floor concept.www.arturoflooring.com | Arturo | A brand of Uzin Utz Group

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www.dwl.be/interiorprojects • info@dwl.be

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2180000989_3_ADV_7491.indd 1 6/07/19 17:00

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Colours and curves in flagship storeText Marni

Images Marni

Marni’s first flagship store in Tokyo is located in the Omotesando Hills shopping mall. The store occupies an area of 300 square meters in which the women’s, men’s and children’s collections are presented. Inspired by the Japanese garden, reinterpreted in a contemporary style, the store pays homage to Tokyo through some of its shapes, colours and materials that harmoniously combine with the typical elements of the brand’s interior design projects. The space is divided into four different sinuous areas, in which flowing designs and furnishing accessories with irregular shapes dynamically enhance the collections, defining a unique and experimental visual route. A tactile surface, made of concrete with marble details, welcomes visitors to the entrance hall, which opens onto a large area where a herringbone-patterned wooden flooring is paired with a red marble insert. In this room, which is dominated by a lilac colour, the women’s bags are displayed in exhibition spaces bordered by undulating walls that anticipate the sinuous design of the other rooms. A large marble staircase in various colours leads to a second level dedicated to a selection of women’s clothing. The next area that showcases the men’s collections and traces a direct route to a room characterized by walls painted in a bright shade of red, which houses the children’s collections. The last room, which contains the women’s clothing collections, features an evocative floral design, just like in a garden, which characterises the carpet flooring with bright pink and green shades.

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Project Marni Omotesando flagship storeLocation TokyoSurface 300 m²Completion 2019Architects The project was curated by Marni with an internal team of architectsWebsite www.marni.com

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‘The ingredients are of course secret’Text Bureau Bax

Images Bureau Bax

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Mixing colours w

ith De Vos Verf

Paul de Vos runs the family business De Vos Verf with his sister. The company has been making lacquers, wall paints and fillers for 115 years, and these are sold by five company-run outlets. De Vos takes us on a tour around the main place of business in The Hague where the development and production of the paint products takes place.

“That is my great-grandfather Hendrik in front of his shop’s entrance”, says De Vos, gesturing at an old photo. Hendrik was a house painter and on 3 November 1905, he started the H. de Vos paint shop in Scheve-ningen. Paul and his sister are the fourth generation to run the family business. “In 2005, we were granted the Royal Warrant and are now entitled to add ‘By Royal Appointment, Supplier to the Court’ after our name.” The premises on Saturnusstraat in The Hague, in which the paint wholesale department, office and laboratory are located, dates from the 1950s and behind it there is a large shed. This is where the paint products are made. Raw materials are stacked in bulk packaging in scaffolding reaching to the ceiling. “Those bags contain titanium dioxide. We use that as the pigment for white paint. It is harmless. It is also found in toothpaste. And the white bags contain chalk. We add that to the paint to make it easy to sand.” Flammable substances are stored in blue barrels in a separate secure room. “This whole area used to be packed full, but due to strict laws and regulations, we use dangerous substances far less each year.” De Vos produces water-based paints and solvent-based paints. “Look, this binding agent is viscous and liquid,” explains De Vos, holding up a flask with an oily sub-stance. “It contains a touch of turpentine. If you smear it out and allow it to dry, you end up with a cohesive layer.” A second flask contains a buttermilk-like liquid. It’s like mayonnaise: you need an emulsifier to bind the oil and water. “You have to add ingredients to make it viscous and liquid. And ingredients to prevent foaming. Water-based paint is much more complex to make.” Tavares’ Heaven must be missin’ an angel blasts out of the radio and cuts through the pounding and beating machines in the factory. De Vos leads the way between large green boilers and tanks, connected by pipes,

hoses, taps and turntables. “This is the mill: an internal and external pot with small balls in between. The inner pot rotates at a high speed. It acts just like a mortar. This process is extremely important to ensure that the pigments are absorbed properly into the paint. And this set-up here - we call it the herb rack - these barrels contain ingredients we add to achieve specific results, such as rapid drying or a matt finish.” Farther along, empty cans await. They are filled on a conveyor belt, a label is wrapped around them and they are then placed in the warehouse ready for shipment. The factory produces two base paints for each type. A white and a transparent version. The white paint acts as basis for light colours, the transparent paint as a base for darker colours. “We have 15 colour pastes for each type of paint, and these can be used to produce all the colours. Each colour has its own recipe. Customers who want a special colour can go to a sales point where the base paint is mixed with pigments according to the appropriate recipe.” The base paints are accurately composed in such a way that the pigments are absorbed well, do not separate and retain their colour when they are being applied. De Vos will not say exactly what the base paints con-tain. “The ingredients are of course secret”, he smiles. “Through constant study, we are able to understand the difference between paint and good paint. That takes a lot of energy. It is a labour of love.” In the colour shop John, the colour creator, works on specific demands. If somebody wants to touch up a kitchen cabinet, the colour must be precisely right. “We have computers and equipment to measure, mix and repeat colours, but these are never 100% the same. John has the experience and the gift to make exactly the same colour just by sight. Making colour is and remains a skill.”

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Pink interior for pizza placeText Child Studio

Images Child Studio

The almost entirely candy pink interior of Humble Pizza situated on King’s Road in London’s Chelsea neighbourhood is designed by Child Studio. The inspiration for the design came from the ‘Formica caffs’, which first appeared in London’s West End in the 1950s. Mostly established by Italian immigrant families, the coffee bars served simple snacks and drinks in a pared-back modernist setting featuring laminate surfaces, pastel colours and comfy seating nooks and crannies. This was the beginning of the ‘cafe culture’ in London with King’s Road at the epicentre and it attracted writers, musicians, photographers and bohemian characters of all styles. The interior is clad in wall-to-wall pink Formica which continues along counter fronts and across tables tops. The rhythmic pattern is highlighted with cherry wood framing each laminate panel. The designers worked with the Formica factory to recreate the original ‘linen’ pattern design popular in the 1970s, opting for a suitably ‘Millennial pink’ shade. Other subtle nods to the past include mosaic tiled flooring, cherry wood shelving and neon signage. The vegan pizza place sits behind a period timber shopfront. The facade was stripped back from the later additions to reveal the original features, including the ornate cast iron grilles. The long and narrow floor plan informed the layout with a long banquette seat flanking one side and a 5.5 metre display counter located along the opposite wall. An illuminated cherry-clad lightbox frames the ‘open kitchen’ counter towards the rear of the space, creating a cinematic focal point whilst offering a glimpse behind the scenes and celebrating the food-making process focused on plant-based ingredients.Child Studio was set up in London by Chieh Huang and Alexey Kostikov. The duo works on the cusp of object design, spatial projects, art direction and photography, creating cinematic and intriguing narratives and experiences.

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Project Humble PizzaLocation LondonSurface 120 sqm (restaurant) 60 sqm (front of the house)Completion 2019Designer Child studioWebsite www.childstudio.co

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A contemporary interpretation of a brown pubText Bureau Bax

Images Maarten Willemstein

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On the patio, a man sits with a cup of coffee and the newspaper. Inside a peaceful David Bowie song is playing softly. It's still early and Ramona's doors have just opened. Esther Stam parks her bike in a rack in front the door and orders a coffee at the bar. Sometime later coffee is served on the patio, in a small, brown, 1970s cup. “The question was whether we could design a modern cafe with a raw edge and the sociability of a neighbourhood: funky, rock ’n roll, classic and original”, says Stam. “You can walk in from early in the morn-ing to late at night: to have breakfast, coffee, lunch or drinks, and there is a pared-down menu.” Stam and her team thought up a narrative which be-came the starting point for the design. The narrative around Ramona: “The same client commissioned us to do a pub called Bonnie in Amsterdam Zuid. That pub is truly an old-fashioned brown pub, and it's a bit Belgian. For Ramona the owners wanted the same warmth, but with a more modern look. So, we thought: ‘Ramona, Bonnie's young, rebellious daughter’. Ra-mona’s roots are those of a brown pub, but she has moved with the times. She has her own style and her own taste in music. Everything that we designed fits within that narrative.”

Rich Pallet of Colours

There is panelling on the walls; not the well-known, little dark brown panels, but lilac-painted, wooden ones. The

Ramona is located in the Oud-West area of Amsterdam, on the corner of De Clercqstraat and the Bilderdijkkade. It's a neighbourhood pub with a rock ’n roll look. Studio Modijefsky is responsible for the design which is striking for its varied use of materials and its particular colour combinations. Interior architect Esther Stam: “Sometime halfway through the construction, the owner began to become anxious about the colour scheme, but after it was finished, everything was balanced.”

bar is a combination of natural stone - white Carrara marble, Belgian hardstone and creme-coloured traver-tine - dark red glazed tiles and brown brick made from recycled building materials. The enclosure by the bar is achieved with different panels of coloured glass and is inspired by old-fashioned stained glass. Has Stam considered what effect the different colours will have on the guests? “In this design we've chosen for a rich palette of colours, but I haven't gone very deep-

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creative process. The yellow that we've used is very pale, there's a lot of white and black in it. That gives it a bit of a weathered look. We've combined that with, for instance, bright orange. And with the colours of the materials themselves: the natural stone of the bar, and the wooden floor. It creates a beautiful balance.”

Atmospheric Combinations

Ramona has various zones where you can sit. At the bar, beside a colourful painting by Jasper Krabbé. Or at a high table in front of the window in the zone along the bar, or you can choose for more intimate seating at the back, for example, on the sofa against the red wall. “The red wall is a beautiful contrast to the grey-tiled wall beside it. If we had chosen for blue instead of red paint, it would have become quite cold. Now the cool grey of the tiles is complemented with the warm red colour. And with the small LED light that shines on it, it takes on a great deal of warmth.” It's this same combining of elements that provides the desired effect in other places in this small pub. “The bar is designed with a lot of fresh tints, but with the combination of coloured glass and bricks, it still has an atmospheric look.”

One Hundred Years Old

The walls are hung with old photos and a lot of mirrors featuring quotes by famous musicians, as if they've been written there in lipstick. It all contributes to the narrative of the rebellious Ramona that Studio Modijefsky has sketched for this pub. From construction to menu, the designers have thought of it all.To finesse all the details the studio worked with special-ists. “We wanted plastering that looked as if it was one hundred years old. At The Set Company, the interior builders, we found a woman who sensed exactly what we meant. She showed us various samples, as many as it took until we found the right one, and we settled on a raw concrete look which is set off beautifully by the painted wood panelling and the handmade tiles.”

Blue Geometry in Green

When it comes to the hospitality sector in Amsterdam, Studio Modijefsky is well-known. The firm has designed

(WE LOOK AT THE AREA,

THE AUDIENCE, THE ARCHITECTURE AND THE HISTORY OF A PROPERTY

)

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more than twenty hospitality establishments in the capital city. A few of the more well-known ones include the Kanarie Club in De Hallen, an old tram depot, Bar Botanique in Amsterdam Oost, Roast Room and the Waterkant. “There are an enormous number of bars in Amsterdam. You have to ensure that they are different from one another, otherwise you get a franchise effect: more of the same. To make a distinctive and bespoke de-sign, we look at the area, the audience, the architecture and the history of the property.”

One special project that Studio Modijefsky recently com-pleted, is the Blauwe Theehuis in Amsterdam’s Vondel-park. “It's a monument, so the design had a huge amount of restrictions. The colour blue was obligatory.” Since the ground floor renovation of the Blauwe Theehuis, it has become the location of a testing room for Brouwerij ’t IJ, and on the first floor, Renato’s pizzeria. The building was constructed in 1937 during the New Building era. The geometric form, the use of materials - concrete, glass and steel - as well as the rough finishes, are all striking in the middle of the lush green of the park. Studio Modijef-sky has essentially emphasized the qualities of the old building and given this public monument and hospitality facility a new lease of life.

(

THE BAR IS A COMBINATION OF

NATURAL STONE, DARK RED GLAZED TILES AND BROWN BRICK

MADE FROM RECYCLED BUILDING MATERIALS

)

— STUDIO MODIJEFSKY

Studio Modijefsky was begun in 2009 by interior architect Esther Stam. Since then it's become an eight-woman team. The firm undertakes many hospitality projects, but also designs shops, offices and homes. Stam: “We aspire to design other types of projects, such as a spa in a natural environment or a boutique hotel in a special location.” www.studiomodijefsky.nl

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Warm tones for a homely atmosphereText Bureau Kroner architects

Images Teo Krijgsman

Bureau Kroner architects transformed an existing office building into a welcoming place for the Council for the Protection of Children. Children are central to the design. They have to feel comfortable and safe there. The starting point for the interior was therefore ‘the horizon’ of children: the proportions of spaces, of walls and façades and of the permanent furnishings were designed with the idea that children of all ages feel welcome. The colours and materials used are based on the house style of the Council for the Protection of Children and have been specifically adapted to the prerequisites of the location. All the basic elements in the interior have a natural look: wood, sisal and carpet in subtle sand colours create a warm, homely atmosphere, and keep the scale of the rooms modest and friendly. New materials have been carefully selected on the basis of their sustainability characteristics. Floors are made of circularly reusable material. The new façades on the ground floor are made of Accoya wood, the most sustainable cultivated and environmentally friendly treated wood available.

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Project Office interior, Council for the Protection of ChildrenLocation The HagueClient RijksvastgoedbedrijfArea 2,930 m2Delivery April 2019Interior architect Bureau Kroner architectsWebsite www.bureaukroner.nl

partners AiNBpartners BNI

1_2_li_202x134_fc_B.indd 1 23-07-19 13:36

Klassiek en elegant en toch top actueel: Visgraat designvloeren.

www.project-floors.com

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Creativity is the tool, Fibracolour is the material Text FINSA

Images FINSA

The Spanish wood manufacturer FINSA is known for its innovative character. After having presented a trendy decor collection and a game changing collaboration with the Eindhoven based design collective Envisions, the company is now launching a completely new product group. It is called Fibracolour Tex.

Textures

Fibracolour Tex is a new range of decorative boards developed from our coloured MDF, providing different textures embossed on its surface. This feature enhances its decorative qualities and, in combination with lacquers or varnishes, the possibilities of customization are unlimited.

This new product range makes it possible to enrich the material and sensorial characteristics of any interior space by means of a varied offer of surfaces in relief. The different textures in linear, geometric or fantasy forms, offer a great versatility, to adapt to spaces or decorative applications. Each of the available textures on our coloured MDF panels offers its own uniqueness with numerous possibilities. All the boards synchronize the reproduction of the textures on the entire surface, which facilitates the cutting, machining or panelling in different applications.

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FINSA coloured MDF

Fibracolour is a product made with water-based non-toxic pigments and with a low concentration of formaldehyde. Therefore, it guarantees a perfect and safe coexistence with the environment and is presented as an ideal alternative for use in closed spaces.

We are very aware of our surroundings. The environment and our living spaces are of the upmost importance to us. That is why we chose to use a special glue that captures the formaldehyde we use to bind the MDF-panel. A special additive in the glue ensures no volatile organic compounds are released into the living spaces.

www.finsa.com

1447-02-Nook_ADVERTORIAL.indd 3 01-08-19 10:48

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FINSA coloured MDF

Fibracolour is a product made with water-based non-toxic pigments and with a low concentration of formaldehyde. Therefore, it guarantees a perfect and safe coexistence with the environment and is presented as an ideal alternative for use in closed spaces.

We are very aware of our surroundings. The environment and our living spaces are of the upmost importance to us. That is why we chose to use a special glue that captures the formaldehyde we use to bind the MDF-panel. A special additive in the glue ensures no volatile organic compounds are released into the living spaces.

www.finsa.com

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Maris Piper Amsterdam opent haar chique deurenTekst INTERSTEEL

Beeld INTERSTEEL

Nabij het Vondelpark, in de Pijp, de Frans Halsstraat om precies te zijn, opende deze lente Brasserie Maris Piper haar deuren. Mede door het kleurgebruik ademt het etablissement grandeur uit, maar met een casual twist waardoor iedereen zich er thuis voelt. De kleuren oker, groen, wit en zwart voeren er de boventoon. Het messing getrommeld deurbeslag van Intersteel past hier perfect bij en completeert het geheel op smaakvolle wijze.

Sfeervol en veilig

De lichte serre aan de voorkant van het pand nodigt uit voor een smakelijke lunch. De achterkant is met zijn donkere kleuren en sfeervolle verlichting op zijn beurt weer uitermate geschikt voor een intiem diner. Hele-maal achterin bevindt zich de zogenaamde Chef’s table, die grenst aan de keuken. Hier kan men genieten van diner van vele gangen.

MESSING GETROMMELD DEURBESLAG VERVOLMAAKT INTERIEUR

0162-03-Nook_ADVERTORIAL.indd 2 01-08-19 10:49

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Nominatie ‘Best restaurant Design 2018’ voor Entree awards

‘We hebben goed gekeken naar de stijl, het licht en de gekozen kleuren en op basis daarvan verschillende opties aangedragen’, vertelt George de Beer, Accountmanager bij Intersteel. ‘In goed overleg is vervolgens gekozen voor de “Baustil”, een design dat, zeker in de getrommelde messing uitvoering, uitste-kend past bij het geheel. Door het trommelen ontstaat een mooie doffe en donkere uitstraling. Dit verfijnt het smaakvolle interieur in al haar facetten en geeft het zijn finishing touch.’ Het restaurant is dan ook genomineerd voor de ‘Best Restaurant Design 2018’ voor de Entree awards.Tevens biedt het de zo broodnodige veiligheid: het bui-tendeurbeslag van Intersteel voldoet aan de hoogste veiligheidseisen. Het is SKG*** gekeurd, wat betekent dat het om extra zwaar inbraakwerend beslag gaat.

Over Intersteel

Intersteel is fabrikant van stijlvol deur- en raambeslag met bijbehorende accessoires. Intersteel verstaat de kunst van het koppelen van moderne technologieën aan elegant design. Voor elke woonstijl bestaat wel een productlijn die een extra element toevoegt aan het interieur. De producten passen bij veel interieurstijlen en -smaken: modern & strak, landelijk & klassiek of vintage & retro.

De lijnen, zowel in samenwerking met toonaangevende architecten op het gebied van interieur gerelateerde producten, als in eigen beheer ontworpen, geven deuren en ramen een geheel eigen finishing touch. Misschien voor velen onopvallend, maar telkens sfeer ondersteunend aanwezig. Kijk voor meer informatie op www.intersteel.nl

0162-03-Nook_ADVERTORIAL.indd 3 01-08-19 10:50

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Nominatie ‘Best restaurant Design 2018’ voor Entree awards

‘We hebben goed gekeken naar de stijl, het licht en de gekozen kleuren en op basis daarvan verschillende opties aangedragen’, vertelt George de Beer, Accountmanager bij Intersteel. ‘In goed overleg is vervolgens gekozen voor de “Baustil”, een design dat, zeker in de getrommelde messing uitvoering, uitste-kend past bij het geheel. Door het trommelen ontstaat een mooie doffe en donkere uitstraling. Dit verfijnt het smaakvolle interieur in al haar facetten en geeft het zijn finishing touch.’ Het restaurant is dan ook genomineerd voor de ‘Best Restaurant Design 2018’ voor de Entree awards.Tevens biedt het de zo broodnodige veiligheid: het bui-tendeurbeslag van Intersteel voldoet aan de hoogste veiligheidseisen. Het is SKG*** gekeurd, wat betekent dat het om extra zwaar inbraakwerend beslag gaat.

Over Intersteel

Intersteel is fabrikant van stijlvol deur- en raambeslag met bijbehorende accessoires. Intersteel verstaat de kunst van het koppelen van moderne technologieën aan elegant design. Voor elke woonstijl bestaat wel een productlijn die een extra element toevoegt aan het interieur. De producten passen bij veel interieurstijlen en -smaken: modern & strak, landelijk & klassiek of vintage & retro.

De lijnen, zowel in samenwerking met toonaangevende architecten op het gebied van interieur gerelateerde producten, als in eigen beheer ontworpen, geven deuren en ramen een geheel eigen finishing touch. Misschien voor velen onopvallend, maar telkens sfeer ondersteunend aanwezig. Kijk voor meer informatie op www.intersteel.nl

0162-03-Nook_ADVERTORIAL.indd 3 01-08-19 10:50

w w w . m o b i t e c . b e

2190000397_1_ADV_7491.indd 1 5/07/19 19:40

De open haard binnenkort verboden?!

...niet met de haarden van Cosyfl ame

De unieke haardoplossing van de toekomst.

De warmte van een open haard is uniek, zowel qua sfeer, als qua verwarming. Is dat binnenkort voorgoed verleden tijd door een verbod op houthaarden? Het is toch ondenkbaar dat we binnenkort met de hele familie niet meer gezellig rond het vuur mogen... Wees gerust, want het Belgische Cosyfl ame heeft een unieke haardoplossing die het milieu wel spaart door de combinatie van alle authentieke elementen van een haard enerzijds en gas anderzijds.

1 simpele druk op de knop en je hebt een milieuvriendelijke haard met:

• een 100% reëel vlammenspel tussen gloeiende houtblokken• het effectieve geknetter van een open haard• de authentieke stralingswarmte van een houthaard, maar dan regelbaar

ifv je wens én dat véél effi ciënter & rendabeler

Architect, bouwheer, het milieu… iedereen loopt er warm voor.

De hermetisch gesloten gashaarden van Cosyfl ame zijn 100% veilig en voldoen aan de hoogste normen, ook qua energierendement. Bovendien zijn ze geschikt voor zowel nieuw te plaatsen, te renoveren of te vervangen haarden en/of kachels en dat voor elk interieur. Ze worden als module geplaatst en worden vervolgens voorzien van metselwerk of van een metalen achterwand, kortom op maat van ieders wens.

De gashaarden van Cosyfl ame hebben een onwaarschijnlijk authentiek effect zonder de nadelen van een houthaard:

• geen gedoe meer met hout (stapelen, sleuren en vuil maken)• geen schouw meer moeten laten kuisen & je haard vegen en stofzuigen…• geen as, roet, vuiligheid en vooral geen onverantwoord fi jn stof meer

WWW.COSYFLAME.BE

Ke is t raa t 127 • 9840 De P in te (Be lg ië ) • +32 (0 )9 222 80 84in fo@cosy f lame.be • www.cosy f lame.be

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Design Kristof Pycke

kreon purity in light

kreon up glass outdoor

Artisanal mouth-blown glass and modern LED lighting techniques are united in the contemporary design of kreon up glass outdoor. As garden lighting, the timeless glass objects merge with the outside environment.

Discover more on kreon.com/up-glass

2180000738_3_ADV_7491.indd 1 5/07/19 19:52

* Bron: Artikel Business User, 13.11.2018

palmberg.nl/disc

23 minkan het durenvoordat je je weerkunt concentreren naafgeleid te zijn.*

Intensieve communicatie, luidruchtige bellers en grappenmakers die de hele afdeling ver-maken – dat kan afleiden en de concentratie verstoren. Onze soepel roterende, mobiele absorber DISC met een diameter van 160 cm maakt de grote cirkel rond. Met een pinbare stofbespanning in verschillende kleuren ver-betert u niet alleen de akoestiek, maar maakt u ook een flexibele indeling mogelijk voor concentratie en welbevinden.

Met DISCis de cirkelrond.

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Met de nieuwe Quooker CUBE haal je nu ook koel bruisend en gefilterd water uit de Quooker-kraan. In een handomdraai geniet je van een glas puur tintelend fris water of maak

je de lekkerste limonades en cocktails. De CUBE komt onderin het keukenkastje naast het Quooker-reservoir te staan. Zo haal je alles uit één kraan: kokend, warm, koud,

bruisend en gefilterd water. Kijk op quooker.nl voor meer informatie.

Smarter Home–Busch-axcent® –Contrastrijk en levendig

De opvallende accenten van het schakelaarprogramma Busch-axcent® leveren een smaakvol en modern totaalbeeld. Deze serie verbindt een consequent strak design met een veelzijdigheid aan kleuren. Busch-axcent® verbindt uitstraling met kwalitatief hoogwaardige materialen, zoals bijvoorbeeld glas, thermoplast, platina en titanium. De contrastrijke kleuren, die uw stijl consequent onderstrepen, maken het plaatje compleet. Voor elk interieur een passende keuze, busch-jaeger.nl

ABB_ECHT_36.BNINOOK_Adv_Busch-axcent_140_Years_NL_230x297.indd 1 12-07-19 15:46

www.dauphin-group.com

2180001079_4_ADV_7491.indd 1 2/07/19 09:34

NOO

K

DESIGNS OF THE TIME

www.designsofthetime.be

Designs Of The Time is a Belgian editor of interior fabrics for both drapery and

upholstery. As “Master of imperfection” Designs Of The Time stands for a casual

and natural look.

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12,50 euro 3 — 2019