10 Questions with… Deborah Berke (from Interior Design)

Architect Deborah Berke was already a celebrated minimalist when she joined Interior Design’s Hall of Fame in 2002. Today, Deborah Berke Partners continues its superb hospitality work and timeless luxury residential projects, including apartment interiors for New York’s skyscraping 432 Park Avenue. The firm recently announced its first community meeting for development of The Women’s Building, which transforms a flood-damaged NYC correctional facility into a feminist hub in Chelsea. Deborah Berke Partners’ design for the 21C Museum Hotel Oklahoma City, its sixth design for the boutique hotel chain, is featured in our August issue. And don’t forget that Berke, a Fellow in the American Institute of Architects, now serves as dean of Yale’s School of Architecture. Here she answers our top ten questions. View this article at INTERIOR DESIGN.

Finding Your Place: The Sixth Edition of the Oslo Architecture Triennale (from Metropolis)

The sixth edition of the Oslo Architecture Triennale addresses themes of belonging in a world where dislocation and alienation are the standard. Browse through the top headlines of 2014, and a few proper nouns stick out. Airbnb, voted Inc.’s company of that year, found itself burdened by a spate of “horror stories” involving squatters, hustlers, and drug pushers. The Syrian refugee crisis loomed over landing pages, and yet this retinal exposure failed to elucidate the unimaginable scope of the event. The campaign for an independent Scotland failed, and scientists ever dutifully gave witness to the Arctic’s deterioration. Meanwhile, architecture’s biggest tent-pole event, the Venice Architecture Biennale, mulled over the hermeneutics of its own modernity. View this article at METROPOLIS.

Designer Spotlight: Tyson Ness

Living room (fireplace in Lilac marble)

Living room (fireplace in Lilac marble)

Fawn Galli Interiors’ Tyson Ness is a time-traveler. Better still, he builds time machines in his interiors, which have the ability to transport their occupants to innumerable times and places throughout the history of the decorative arts. The spaces he designs invoke strong emotions: a panoply of moods and, at times, a sense of the uncanny. But far from invoking the horrors of the Overlook Hotel of Stanley Kubrick’s The Shining, these uncanny environments are engaging, dynamic, unexpected, and exciting.

A true designer’s designer, he is unafraid to make bold decisions. We had a chance to sit down with Tyson and interview him: the idea was get him to talk about some of his inspirations and techniques, but we ended up taking a master class in the mechanics of the creative process, a portrait of the struggles and ambitions of a gifted designer who throws caution to the wind while navigating creative wellsprings of past and present, to produce bold, visionary work. Meet Tyson Ness, and have a look at some of his exquisite interiors!

ABC Stone: Who do you design for, and why?

Tyson Ness: I always design for the client. At Fawn Galli we have a certain “look,” but if you look at our projects, we work with our clients closely to give them a space they feel like reflects them. At the end of the day, I’m not the one living in the spaces, I want our clients to look back in five years and feel like their space is still totally them.

ABC: Are your interiors able to retain their aesthetic integrity after they’ve been lived in; are they, in this sense, fluid environments?

TN: We want our interiors to feel like they can be used and lived in, however, we also often choose materials and products that are durable enough to handle life. I’ve found most of my projects have retained their integrity over time.

ABC: What do you think or feel when you look at an empty space—or, for that matter, a space which you intend to renovate?

TN: It’s full of new possibility! I can think of a million different ways to treat a space. An empty space, or a space that has yet to be built, is even better, because there isn’t anything to cloud the vision. The beginning of the project is one of the most exciting aspects because it’s in its infancy and allows for us to dream big—without any of the reality checks that inevitably happen.

ABC: And what do you feel when you begin to work on it?

TN: By the time I’m able to work on the project, I’ve taken the emotional journey of the planning stage, so it’s the moment when I’m able to see ideas realized. To see something go from a 2D drawing or from a vague thought in my head is something I still get excited by.

ABC: Why is it important for you to work from sketches and drawings?

TN: I find that I can convey my thoughts and intent more accurately through a drawing than through verbal or written instructions. Images and drawings are somewhat of a universal language that I find most trades can understand. They also help me to prevent any mistakes, because we work with a drawing that is accurate to what the expectations are.

ABC: To what extent does research play a role in your creative process?

TN: I’m always researching, like… all the time. I live on Pinterest in my downtime. And even walking around I see details and items that catch my eye. My camera roll is filled with small detail shots and weird inspiration pictures, that really only mean anything to me. They spark an idea and, even if it’s not applicable to a project I’m working on, I store them away and revisit them later. It’s always weird to go back and pull an idea that I had four years ago and see it start to become realized.

ABC: You’ve described yourself as a history buff. How, if in any way, does this proclivity figure into your work?

TN: History offers very interesting ideas to draw inspiration from. The detailing and craftsmanship of interiors in the past offer cool ideas to incorporate into modern day interiors. I also love the color stories of the past. Things people lived with always fuel my fire and creativity. I usually always reference past images as sources of inspiration, whether it’s a pattern detail on a shirt to a Mod rainbow rug, I can usually always find something I want us to tackle and reimagine for use today.

ABC: Do you consider yourself to be a kind of “time-traveler”?

TN: I think it’s weird to say, but I have always had an affinity for older items. I would say time-traveler is an appropriate term. It sounds much better than saying I’ve had multiple lives… which I’m sure I have. If I believed in that sort of thing…

ABC: What are the most common obstacles you encounter in your work?

TN: NYC buildings are the biggest obstacle. Learning the building hours, rules and operations protocols is always the biggest hurdle. A house out in the Hamptons or in Jersey doesn’t have the rules and politics that you run into with the large apartment buildings in the city.

ABC: Can you talk about the process by which art objects are introduced into your interiors? Are they of your own choosing; do you find yourself working around the choices of others?

TN: The relationship of art to the interiors really depends on the project. Some of our clients have an existing collection that they want to incorporate into the interior, which we know about at the beginning of the process, and plan for. Others need some guidance and/or want to do it after the interior is completed. Art is extremely personal and we prefer to have our clients use pieces that resonate with them and are unique.

Kitchen in New Jersey.

Kitchen in New Jersey: “Taking cues from the rest of the house, we created a kitchen that is white, but far from boring.” —Tyson Ness

ABC: Many of your interiors could be described as “moody”: what sorts of visceral-emotional responses do you like your work to invoke?

TN: I want my interiors to feel sexy and unique. Obviously this depends on the client, but I’m lucky to work with a great firm and clients that allow us to have fun. Life is too short to play it safe, having fun with an interior and tailoring it to the personalities of the client is what we live for.

ABC: I was especially taken with the rooftop garden of your Tribeca Penthouse, and felt as though it took me to another time and place. How collaborative was that space? Where did the inspiration come from?

TN: That client was from Texas, originally, and split her time between Texas and NYC. She really missed the open, private outdoor spaces of her Texas home, and wanted us to help her recreate that feeling in the city. The terraces (there were three) were a major reason why she purchased the apartment in the first place.

ABC: What sorts of factors do you consider when choosing a light fixture for a specific room? Does a particular kind of bathroom, kitchen, dining room, necessitate a particular kind of bathroom-, kitchen-, or dining room-lighting fixture?

TN: Whenever I start choosing lighting for a room, I take into consideration what the room is going to be used for, and what other light sources are available. I typically like to do “layers” of light. An overhead light to generally light the space, sconces and tall floor lamps to light the middle of the room, and task lighting and table lamps for more directed spots. In bathrooms, kitchens, and utility rooms, I tend to “over-light” the space, as I find that I can never have enough light. We always put lighting on dimmers to really add another layer of adjustability to the space.

ABC: In designing dining rooms and kitchens, to what extent are you influenced by restaurants?

TN: More so in dining rooms than kitchens. I find that restaurants are able to take more risks on a larger level that help to inspire spaces that are usually very standard. Some of my favorite restaurants, from which I’m pulling inspiration lately, are: Le CouCou by Roman and Williams; The Durham Hotel by Commune Design; Monsieur Bleu by Joseph Dirand; The Gallery at Sketch by India Mahdavi; Llama by BIG and Kilo Design; The American Restaurant by Warren Platner.

ABC: To what extent do advancements in the technology of the present influence your work: is there anything you’re able to do now that you might not have been able to do five or six years ago?

TN: I think that technological advancements have really made major differences in interiors, with items becoming thinner, wireless or cordless, we are really able to clean up the technological “clutter”—think multiple switches on a wall, bulky televisions and entertainment centers—to really allow the interior to shine. I don’t have to center rooms around a major built-in, that houses the television, stereo and entertainment consoles, because everything is neatly tucked away into A/V closets and accessible via iPad. In terms of product or furniture design, the advancements in CNC (computer-controlled) cutting have really allowed us to create interesting shapes and cutouts that are more precise and take less time—and less money.

ABC: Your graduate project was a re-imagination of the Kemmerer Hotel: what attracted you to the Kemmerer, what do you find interesting about it?

TN: Kemmerer, Wyoming is my hometown! The hotel was a downtown landmark that fell into neglect and was eventually demolished. It was one of the first buildings built there, and was actually older than the town. It was something that had been woven into the fabric of who I am, and when it was torn down (to become an empty lot) it really struck a chord with me. I think it was at that moment that a spark was ignited that would eventually lead me to the path of becoming an interior designer. Taking spaces that have been forgotten or abandoned and bringing them back to life is always something very rewarding to me. My graduate project was done to help show members of my community what could’ve happened with the hotel. Though it was very idealistic.

ABC: And you started work as an assistant, and later project manager, for a stone company, and have said it was there that you learned the in’s & out’s of stone. Was this experience influential upon your design ethos and aesthetic?

TN: My first job in the design industry was working with one of my professors for a marble and stone fabricator in Utah. I later became a project manager. This experience was extremely beneficial to and formative for me as a designer. Since I was a salesperson and in the fabrication side of stone, I really was able to learn what was possible with stone, and its different attributes. I think this experience really allows me to speak intelligently and give my clients the confidence to take a chance on a stone that isn’t typical or standard.

ABC: Did it inspire a pointed interest in or preoccupation with stone as a decorative material?

TN: I think that it did, in a way. Stone offers something totally unique and one of a kind. A quality that I think all projects can benefit from. I like to try to push the way that I use stone in my projects, whether that’s from an unexpected location to a different application or installation method. I think the natural qualities of stone lend themselves to any style of interior. I also know that stone is all about the context in which it’s used and how it’s fabricated.

ABC: Could you elaborate more on your stone experience as formative in your evolution as an artist?

TN: Working on the fabrication side of stone really gave me an advantage in knowing what was possible. I worked in a place that utilized technology and classic techniques for fabricating stone. While most people continue to do the same thing, and are exposed to the same thing, I know of a completely different world in terms of what is possible. I think this knowledge really helped me approach stone as a puzzle, to help unlock its full potential.

ABC: Complete the sentence, a well-designed space has to__________.

TN: Feel like it wasn’t designed at all, but was an evolution over time.

ABC: Who/what are some of your “design muses”?

TN: Current obsession is Dimore Studio, anything they touch is magic. Gio Ponti will always hold the key to my heart along with the architecture of McKim, Mead and White.

ABC: What are some of your favorite decorating sources?

TN: 1st Dibs, Pamono, Vintage Stores, Dering Hall, Pinterest, and Etsy; also, Instagram has been killing it lately with people/artists for me to follow.

ABC: Who/what is inspiring you right now?

TN: Ilse Crawford and India Mahdavi (have you seen India’s bishop stool in stone? I just… can’t).

ABC: Do you have any parting words of wisdom?

TN: Interiors are, first and foremost, for the person who lives there. Who cares if everyone else says it’s ugly. If it’s something that speaks to you and makes you happy, do it.

Stone Discoveries: Calacatta Caldia

As our jeep made its way further and further up the mountain, I watched the red clay commune of Carrara, Massa disappear below me. For all the majesty of Tuscany’s Medici villas, the Renaissance art and architecture of neighboring Florence, I knew that what lay at the end of my journey, that magical place secreted away among the misty Apuan Alps, was a place of beauty, in a class of its own: the Caldia quarry (also known as the Rocchetta quarry); neighbor to the Carrara quarries. Seen from a great distance, they appear to be mere white specs on the mountains, but, in truth, they are the wellspring of luxurious raw materials destined to become masterpieces of art and architecture.

When my Carraresi guide, Ettore, halted the vehicle, the air was different, lighter. I realized then how far we had come. He pointed them out: the quarrymen in the rocky vale below working, like ants, carrying loads hundreds of times their own weight; and what they carried: something vital, maybe even sacred, practiced since the Romans first opened the mountains to extract the wonders within two thousand years ago. I observe them pulling this material from the earth and beginning the process…

Though the mountain formation that lies in Carrara consists almost entirely of marble, it can be very difficult to get at, owing to the accumulation of debris from quarriers of the past, who cut where it was most convenient and threw caution to the wind, employing none of the modern and more green quarrying techniques of the twenty-first century, pulling the blocks of stone, labeling them for civic use to avoid excises. These coagulations of rock can be hundreds of feet in depth. The growing cost of the marble culled from the Massa region has less to do with a lack of supply—the amount of marble secreted in the mountains of Massa is incalculable—than the struggle to unearth it. But I know I have come to this place, where occurred the germination of the architectural splendor of the Roman Empire, because the stone is worth that struggle.

In blocks, unpolished and uncut, Calacatta Caldia has a striking effect upon the senses, just as it does when confronted in art and architecture: one of bearing witness to something austere but also elegant in its simplicity. While the materials produced by the Carrara quarry have been a staple of art and architecture for thousands of years, owing to their stark ostentation, Caldia is now a staple of interior design because, in comparison to the other Calacatta marbles, it is much softer and more delicate; characterized by subtle, pale grey-green veining. It is this inconspicuousness of the material that allows it to, in its many and varied interior applications, toe the thin line which separates gaudiness and garishness, from the splendor of organic interiors which are uniform without being ordinary.

The natural stone currently on view at ABC represents only the finest rocks on Earth. Procured from 6 continents, ABC has truly moved mountains across oceans to bring the finest stone on Earth to the A&D community. Calacatta Caldia is one of the most perfect building materials in the world, and we are honored to bring it to you.

Manca Studio’s La Dimora di Metello Hotel Puts Matera, Italy on the Map (from Interior Design)

We thought we knew Italy. Really knew it. Not just the design capital, Milan, and the Rome-Florence-Venice tourist triumvirate. Nor simply the glamour destinations, Capri and Positano, and rustic Tuscany. But Matera? Uncharted territory. Yes, vague name recognition for Basilicata, the southern region in which Matera is located. And that was it. Everything changed when we heard of Matera’s diminutive hotel by the brother-sister firm Manca Studio. We soon learned that tourists arrive via Aeroporto Karol Wojtyla di Bari, named for Pope John Paul II, and that this UNESCO World Heritage site, termed the town of sassi, Italian for stones, is furthermore designated a European Capital of Culture for 2019. View this article at INTERIOR DESIGN.

Stone Discoveries: Belgium Black

Palace of Versailles

Palace of Versailles

Though use of Belgium Black marble has its origins in Roman Antiquity, in the Roman Empire’s occupation of Belgium; and has adorned a variety of historic structures- The Palace of Versailles and the Taj Mahal, to name but two- the Noir Belge (as it is known throughout Europe) quarry in Golzinne, Belgium, which has been functioning since 1928, is the only producer of the material in operation today. It was to this rustic hamlet, near the village of Bossière, in Gembloux, Namur, Belgium, that I knew I must travel, to make Belgium Black marble available through ABC Stone, to the American A &D community.

An underground quarry, the Noir Belge site is submerged in darkness. My guide, Océane, shows me the thick rich veins around which the quarry is arrayed, layer upon layer of uncut stone, to a soundtrack of mysterious underground rumblings, dripping water, the pattering of boot shod quarry workers.

When I mention to her that I possess some degree familiarity with the historic use of the inimitable stone, she soon leads me to realize that I only knew disparate anecdotes of a rich and fascinating story: a veritable history of the evolution of western civilization told through the stone itself. First used by the Ancient Romans in the construction of villas, the stone had become, by the early middle-ages, a staple of religious architecture: tombstones, monuments, altars, and the interiors of cathedrals-the stone having been chosen for this use for both the startling and grim piety of the blackness of the material, but also the great aesthetic relief that blackness could lend to the colorful inlays typical to the aforementioned structures.

By the Renaissance, the material began to be exported to major European courts, by monarchs who sought to sanctify their living quarters, thus beginning the material’s monarchal associations.

Noir Belge/Belgium Black Quarry

Noir Belge/Belgium Black Quarry

Belgium Black marble is nearly impossible to photograph due to its highly reflective nature. Correction: it is quite a simple task to capture, but the infinite range of what it reflects is actually completely subjective and impossible to portray in a two-dimensional medium. I was so intrigued by this material that I was led to investigate it further and, upon doing so, I learned that Belgium Black’s pure blackness-the cause of its reflectivity-is a result of its containing large amounts of unaltered organic matter, being cut from a fine-grained sedimentary formation dated approximately 360 million years ago.

The natural stone currently on view at ABC represents only the finest rocks on Earth. Procured from 6 continents, ABC has truly moved mountains across oceans to bring the finest stone on Earth to the A&D community. Belgium Black marble was also used in the construction of modern day landmarks such as the Carbide & Carbon Building in Chicago, an art deco masterpiece completed in 1929. We are honored to bring it to you.

Belgium Black Closeup

Belgium Black Closeup

The Black Skull Table by John Bizas (in Belgium Black Marble)

The Black Skull Table by John Bizas (in Belgium Black Marble)

Structures incorporating Belgium Black Marble, and the quarry today:

LUXE Magazine and ABC Stone Celebrate Design in Brooklyn!

Known for its artistic and cultural diversity, Brooklyn has become a mecca for design of all types. From interiors and textiles, to jewelry and fashion, the borough brims with innovative and visionary professionals and we were thrilled to partner with our friends at LUXE to celebrate this inspirational community. On Wednesday, July 13th the who’s who of Brooklyn Design gathered at the ABC showroom. It was a truly beautiful evening. Check out the scene below.

Designer Spotlight: Kroesser + Strat

Our love-affair with Brooklyn-based design mavens Anna Kroesser and Amelia Strat (@KroesserStrat) began as a severe Instacrush. It’s hard not be completely enamored by the duo’s elegantly crisp, minimalist vibe that always feels exceptionally livable and never fussy. By consciously mixing modern and vintage design elements, Kroesser + Strat are united by an innate love of a life well-curated and well-lived.

We spent an awesome day shopping for stone, discussing motherhood (check out K+S’s Instagram hashtag #momprenuer) and sourcing vintage inspiration at Greenpoint staples, Brooklyn Curated and People of 2morrow. Get to know Anna and Amelia, learn their secrets for creating savvy, bold spaces and see all the pretty photos below!

ABC Stone: What was the impetus behind E-Design, and what are your thoughts generally on the democratization of your medium?

Kroesser + Strat: We wanted to create a service that didn’t require full interior design or the cost associated with it. We really believe that you don’t need to be a millionaire to have a beautifully designed home. If someone came to us and said we could only use IKEA, we could create a pretty amazing space, and it could be done virtually, to boot. Spatial awareness isn’t something everyone has, just like we all can’t go put together a presentation for an advertising firm or a lesson plan for a classroom. But that doesn’t mean it can’t be accessible to everyone, with any type of budget. We still have pieces from IKEA in our homes that we love—trust us, we aren’t out there buying a twenty-thousand dollar sofa for our homes, so we get that there’s a gap to be filled in terms of affordable design.

ABC: To what extent does research play a role in your creative process?

K+S: The most important research we can do for a project is with and for the client. What is their ideal aesthetic? What did their home look like before? Do they have existing furniture that they want to reuse? And what’s the most important part of this process to them—do they want to have a completely casual, lived-in space, or do they want it to be elegant and streamlined?

ABC: Does fashion design have a significant influence on your work?

K+S: Fashion always has an influence on our work. HonestlyWTF, this amazing blog, if you don’t read it yet, does a great job featuring trends in fashion and how they make it into the interior design world. If it’s on the runway in the fall, you’re going to see it in one or two seasons on a pillow.

ABC: For whom do you design, and why?

K+S: We design for our client, but always try to make sure that Kroesser + Strat vibe is in there. Some clients are more traditional, and that’s okay! But we are going to do a killer piece of marble on that 1920’s fireplace!

ABC: Can you talk about obstacles you encounter in your work?

K+S: The most common obstacles are logistical. Examples are: a client’s expectations in terms of how fast a project can be completed; or that custom costs more; that sometimes a piece of furniture gets stuck in customs for weeks, or that it was damaged on the way over from Europe. We have our pulse on all facets of our projects, but keeping the contractor and their subs on schedule can be tricky. We always try to tell our client that it’s going to take longer than the contractor says, and that it’s going to cost more than they say. These are the realities of a project, especially a renovation. But creating a trust between us and our clients, letting them know that no matter what happens they are going to have a gorgeous space in the end, is our most important goal in this all.

ABC: You use the hashtag #momprenuer in your Instagram posts. What does that mean to you?

K+S: We think being a #mompreneur means we don’t have just one baby, we have two babies: our business + our real, live baby-babies (well, three if you count our husbands… haha!) and everything we do, we’re doing in an effort to leave something wonderful behind for our sons. We both have boys, and think it’s important, especially in this day and age, for our sons to see us as strong, independent women who they can be proud of and look up to as role models. And that, although our boys truly are the center of our universe, there’s more to us as women than simply being “mom”.

Palissandro Bronze fireplace surround creates the perfect update on a 1920's hearth

Palissandro Bronze fireplace surround creates the perfect update on a 1920’s hearth

ABC: You talk a lot about seasons on your blog: in what ways if any do they influence you?

K+S: Seasons are a time for change. At the end of the summer, everyone’s waiting for that crisp fall weather to hit so they can throw on their coziest sweaters. And when winter keeps dragging on and on and on into April, we all just want to throw our boots in the fire and put on some sandals. The same applies to interiors: in with the old and out with the new. Summer means lots of light, fresh art on the walls, and winter requires Moroccan wedding blankets on our beds, and lots and lots of throw pillows to curl up on.

ABC: You’ve said you “understand how personal (and sometimes stressful) creating a client’s dream space can be, and you pride ourselves on making it a fun and enjoyable experience for everyone involved.” Can you talk a little bit about bringing a client’s vision to fruition, how you accomplish this, what it entails?

K+S: At the end of the day, we want our clients to be happy. Truly, it is something that means more to us than clients tend to believe. We love putting together a presentation for a new project—we are so excited for that day where we walk our client through design inspiration, materials, fabrics, finishes; but that first meeting is so important. It sets the tone for the project. If we don’t more or less nail it, the client is not going to be excited, and already that trust we talked about building hits an immediate road block. So what we know is that really listening to a client about their vision for a space is step one, and then we take it up a few notches. We will show them the dream and then scale back from there.

ABC: Complete the sentence, a well-designed home has to__________.

K+S: Be comfortable. Not every piece of furniture has to be slubby and cloud-like, but you need to be able to walk into that space and feel good about being in there.

ABC: Who/what are some of your “design muses”?

K+S: Our #1 muse is, and always will be, Kelly Wearstler. She is a risk taker, fearless and there is no question what the Kelly Wearstler brand is.

ABC: What are some of your favorite decorating sources?

K+S: We have two huge sources we use right now. Etsy + Instagram. Some of the absolute best furnishings, lighting, textiles, etc. are coming from designers on Etsy. And because it is a global website, you’re getting access to more than just what’s at your local retailer. Instagram is everything, and for sort of the same reason. We are seeing what design is looking like in Belgium, Morocco, Australia, and let us tell you: there’s some really amazing design happening out there!

ABC: Who/what is inspiring you right now?

K+S: Maybe because of our obsession with Etsy, we are really into handmade pieces. If you walk into our own homes, you’re going to see pillows from Thailand, a chandelier made by some guy in a rural town in the Pacific Northwest, and because we have a really amazing woodworker in the family: a crib, changing table; dining table and cocktail table, all made with so much love.

ABC: Do you have any parting words of wisdom?

K+S: This might change by tomorrow, but be true to who you are and what your brand stands for. Know that you can try to make everyone happy, but that you won’t, so it’s okay. And when things get really hard, try to find the fun, even if that requires a bottle of tequila to help you do so. Oh, and sleep! As new-ish moms running a small business, we realize more than ever how important sleep is in order to be a functioning member of society. So sleep, sleep, sleep… when you can.

Want to be in the Spotlight?
If you’re an architect or designer and have completed a project using stone from ABC, we’d love to hear from you! Each month, we feature a design professional and a space they’ve created that features our product. We’ll share it on social media, on our website and in our e-newsletter. If you’d like to be considered for an upcoming Designer Spotlight, drop us a line: lyndsey@abcworldswidestone.com.

Tod Williams Billie Tsien Architects to Design Obama Library (from Architectural Record)

When Barack Obama was announced victorious in the 2008 presidential election—the first African American to hold the nation’s highest office—he told the crowd of tens of thousands gathered in Chicago’s Grant Park, “This is your victory.”

Today was meant to mark another victory for Chicago—more specifically, for the city’s South Side. As Obama’s presidency comes to a close, his Foundation announced that Tod Williams Billie Tsien Architects (TWBTA), joined by Chicago firm Interactive Design Architects (IDEA), will design the Obama Presidential Center and Library. VIEW THIS ARTICLE at Architectural Record.