Editor’s Note: Haute Designer Hafsa Burt has been practicing architecture for 22 years. She has an undergraduate degree and a professional Master of Architecture from the Savannah College of Art & Design (SCAD). Burt has been running her own studio, hb+a Architects since 2006. Her portfolio includes work at the San Francisco Airport, institutional buildings, multifamily buildings, hospitality, retail, medical office buildings, and custom single-family homes.

She also founded a development arm for the firm called Box Lab which is focused on active research and development in product and space design and zero energy/zero carbon buildings. A passionate environmentalist, Burt adopted the 2030 challenge a decade ago and is a huge proponent of high-performance buildings. Her focus includes eliminating toxins with indoor air quality as a specialty. She actively speaks on the topic of indoor air quality as it relates to the practice of architecture and is an industry expert on “Healthy Building Practices”.

Here, she talked with Haute Design about her architecture firm, favorite design projects, and her sustainability and environmental goals for the future. 

11 luxury townhomes at Stonebrae golf community

Photo Credit: hb+a Architects

How did you get started in design?

I come from a family who, despite having advanced degrees in science, were creative and have relatives who are also engineers. Growing up, conversations were about creativity, problem-solving, and theories, and so it was a very creative and intellectual household. There was a lot of importance given to academics. I was particularly interested in physics, and in high school, I also got interested in the arts, specifically sculpture. Architecture just seemed like a natural fit, given those interests and my background growing up.

Tell us a little bit more about hb+a Architects as well as Box Lab.

I worked for larger companies before I started the design studio. It was a natural next chapter once I got my license. Most of my colleagues that were starting their studios were doing smaller jobs, but right from the beginning I started collaborating on institutional projects with other architects. So that led to projects such as working on the San Francisco Airport, and other institutional work, that really helped the business develop.

The idea for Box Lab came because I've always been interested in real estate development. Sometimes your ideas get kind of squished when you're working for clients, because it's their vision, and it's your job to make their vision become a reality. With Box Lab, I can put my own visions out there specifically as they relate to environmental sustainability. Zero carbon or carbon neutrality has been a focus of mine for 20 plus years, and most projects just address what's needed by local mandates. I thought there was a need to develop actual zero carbon prototypes. It took a while, but it came about in 2019, and since then, we've done a few projects.

Mei Apartments in San Leandro, CA

Photo Credit: hb+a Architects

What have been some of your favorite design projects that you've worked on so far?

I would say different projects have different favorite moments. For instance, in the single-family residence for Box Lab, we set out pretty ambitious goals for carbon neutrality and zero energy, and also construction efficiency. These goals were met very successfully. 

I also did a retail store for a client way early on when I had just started the studio, and their budget was extremely strapped, but the owner had this unique personality and I wanted to give it a unique flavor without burning her budget. It was a good exercise in terms of finding materials and objects and turning them into fixtures for her retail store to give it its own individual character. 

What would you say are some of the biggest accomplishments that your firm has accomplished so far?

I think it's a work in progress. I do like the fact that for just starting the studio in 2006, we were able to scale to much larger projects. That's a big one. We also are focused on carbon neutrality and zero energy, and we've kind of pioneered that. We also started the discussion of healthy buildings and indoor air roughly a decade before the pandemic. These are some of the things that I would say I'm proud of because we were ahead of the time. Everybody's talking about climate initiatives right now because it's so crucial for the industry, but for 20 plus years that's been our focus, we're not just trend-driven. It's a larger philosophy in terms of how buildings are built. I am proud of having done thoughtful work embedded in environmental and social awareness throughout my career instead of being trend-driven.

21 unit mixed-use project in Oakland, CA

Photo Credit: hb+a Architects

What do you see for the future of your company and the industry in general?

Based on what the scientists are telling us, we have to reduce the greenhouse gases all over the world by 65% in the next nine years, and that's a pretty strong deadline. I'm hoping that that's where the industry would move. There is a bigger sense of urgency than, say, 20 years ago when we were talking about it. Some people may be caught by surprise in 2030 when it's too late, but ideally, that's where the industry is moving. 

As for us, we're just going to continue on the innovation path, and keep experimenting and keep looking at how we can innovate products, furniture, fixtures, or equipment and systems for energy efficiency and carbon neutrality so a building has minimal impact on the planet and its people. Social equity is going to be very important. For instance, in a multi-family project, conversations will be about inclusivity. There's a lot at play and I think we will see it more and more in the industry.

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In this new series, Haute Residence sits down with some of the real estate industry's top-shelf CEO's and Executives to discuss everything from the state of the industry to the next steps for his or her business. Brown Harris Stevens has become one of the city's leading luxury real estate firms, with incredible listings all across the region. In this exclusive interview, co-president Bess Freedman shifts in the industry, her work at BHS, and the evolution of the city.

What sort of shifts have you noticed recently, both in taste of homes and the industry overall, during BHS’ tenure in the industry?

The biggest shift that I have seen in the industry has been the focus on treating agents like clients. BHS has created a complete platform involving concierge services to help make the agents lives easier, as well as making them more efficient. As my co-president Hall Willkie always says - we ride up and down the elevator with our assets every day and we need to ensure they have 100% support from their company. There is a level of loyalty that exists at BHS and it truly sets us apart from everyone else.

Taste of homes is always very diverse but well-informed and as a result it’s hard to pigeonhole just one trend. We’ve seen incredible sales at 520 Park Avenue which is the height of ultra-high-end luxury, as well as a surge in business downtown for loft like space. The one and two bedroom market is stronger than ever in many neighborhoods across the City.

As one of the leading luxury real estate firms, the company has aided the rise of certain neighborhoods in the city. How does that process happen from your point of view, and what makes a neighborhood special?

There’s no doubt that the people make the neighborhood special and as new schools are built, and restaurants and stores open it attracts people. There are so many micro neighborhoods in New York City –diverse little areas and small pockets that change all the time impacted by a myriad of trends. New Yorkers are all about convenience -even the ultra-wealthy don’t like having to take a long car ride and sit in traffic. People like to live near where they have to go every day. I find that most New Yorkers feel grateful to be able to pound the pavement here on a daily basis as it provides nourishment for the mind and soul.

What trends have you noticed in homes in New York recently?

More than ever we are seeing kitchens designed for chefs who come in and cook for you at a reasonable price.

Location is key; New Yorkers want easy access to our vibrant arts and culture. Attention to detail is important. There’s a level of sophistication that you don’t find in many places.

Like everything else, companies must adapt to changes in time, how has BHS changed over time and what is the future of the business?

BHS has embraced a culture of a ‘learn it all’ mindset in order to embrace the level of accelerations that are happening our industry.  We rolled out a bunch of new technology initiatives in the last two years in order to give our agents the best of everything they need to be successful. We keep striving to do and learn more and provide more. You can never put a period and think OK we did this now we can just sit back and relax. Technology is no longer just a tool; it’s embedded in everything that we do.  There is a balance between technology and relationships; relationships with our clients with other agents and with the company.

Is there a certain style of home or area that you love in New York or the Hamptons?

I love the upper east side super modern space. DDG is doing a new building on 88th street and 3rd avenue and the design and the layouts are gorgeous. High ceilings, beautiful detail, big windows. In the Hamptons, we have sold some incredible new constructions homes that are literally turn-key. Everything is there down to the silverware, you just have to bring your swimming suit for the pool!

The post Haute Q&A: Brown Harris Stevens Co-President Bess Freedman appeared first on Haute Residence by Haute Living.

As a child, the American-born artist passed his time cooped up in his basement fashioning doll-sized structures, repairing old clocks, and refinishing antique furniture (such as his parents’ grand piano). Once, he even took apart the family’s clothes dryer, only to piece it back together again.

Soon after graduating from college in the late 1980s, the American-born artist ventured to India to visit his sister—a casual trip that would ultimately morph into a life-changing excursion, as it introduced him to the fascinating metalworking practices of the culturally rich land.

Newly inspired by the country's unique hand-wrought aesthetic and techniques, Aram decided to channel his creativity towards craft design, aiming to shed light on the brilliant—yet severely under-tapped—talents and techniques of the skillful craftsmen he encountered. Resolved to create a luxuriant brand of products unlike any other, the budding metal-molder set up a permanent home and workshop in New Delhi. The rest of the story, as the saying goes, is history.

“Aram”—which means “gently, with peace, love and care” in Hindi—is a fitting moniker for the designer, who asserts that each piece he creates “comes from the heart.” Incredibly, every item produced by the home decor guru’s eponymous company—from tableware to furniture—is painstakingly handmade from start to finish.

According to Aram, who splits his time between New York and New Delhi, each individual product is a direct reflection of the skilled craftsman who created it. He reasons the connection between a work and its creator is “critical,” in the sense that it allows simple objects to morph into meaningful, prized heirlooms that can be treasured for a lifetime.

We chatted with the designer and father of twins about his chief source of inspiration, what sets his brand apart, and what to expect next from his ever-growing range.

Most of your work appears to be organic and inspired by nature. Is there a sentimental reason behind that?

I grew up spending much time outdoors, so I am sure my fascination with nature must have come from that—I have always been intrigued by the cycle of life, death and regeneration, the idea of transformation. Also, I am a firm believer that the imperfect is perfect, as it reflects our individuality and humanity. Nature is my greatest muse and never fails to surprise or delight. There is a wonderful quote by Georgia O'Keefe on the subject of a flower as a microcosm for the universe: "When you hold a flower in your hand and really look at it, it is your world for that moment.”  Taking something as fragile as a natural element and rendering it in metal forces you to examine it anew.

What do you feel sets your creations apart from their direct competitors (i.e., those of other luxe home decor brands)?

2014 marks the 25th year of our brand. Over that time I have enjoyed, every day, waking up and going into my design studios in New York and New Delhi with the intent to create something beautiful and meaningful. Most of our products are made by hand in our workshop in India, by myself and artisans that care deeply about their craft. We are not only the designers, but also the manufacturers, and you can see the care, quality and thought we put into our pieces.

How do you manage to make products that are durable and made of metal, yet are surprisingly lightweight?

Rivets, molten drops, butterflies and other elements of our motifs are brought to life by the artisans constructing them. If you look carefully at each piece, no two are ever exactly the same. You can literally see the specific hand, unique to each artisan, through the bends, folds and curves of the metal. We work very hard to use the highest quality metals that are pliable yet resilient. I work with materials that are beautiful, durable and will stand the test of time.

Are there any items you make that look simple on the outside, yet are actually quite difficult to manufacture? How about any items that appear intricate, yet in reality are relatively easy to make?

Most of our pieces appear deceptively easy. They all have several processes which are layered together to create the final result. One of our most time-intensive collections is “Molten.” It seems simple in appearance, but each metal drop has to be hand dropped in its liquid metal state, balanced on the thin edge of the rim of the piece and cooled before the next drop is set. In the end, it’s worth the time because the Molten drops create a beautiful texture that add dimension to the collection. 

Describe the overall theme of your upcoming Fall 2014 line, and how it is different from your past collections.

Fall 2014 is an exciting moment for our brand. We are introducing a new tabletop collection which harkens back to my first trip to India 25 years ago, when I witnessed talented craftsmen making simple tools and objects using age-old techniques. The collection is called “Rivet” as it is a fusion of hand-hammered stainless steel with actual rivets that hold the pieces together [the Rivet pitcher is pictured on the left]. It’s very utilitarian but elegant and functional. I have also designed 12 table lamps inspired by new and existing motifs. I wanted the lighting to reflect my love of sculpture and exude beauty from every angle. I worked very hard to offer the market something new and fresh, an opportunity to bring the outdoors, in, illuminating any room of the home.

Are there any particular pieces in the collection that you would like to highlight (possibly ones whose designs deviate from what you are known for, or ones that you are especially proud of)?

My “Rock” collection was released just this spring and people have been responding very well to it. It’s a departure for me on some level, as I’ve incorporated more architectural and art references into the motif than usual. It is still a nature-inspired line as we focused on the rock as a form and object in nature. I think it all came together just beautifully.

Rock Cake Stand

Mermaid Bowl

Can you give us a small sneak peek into your spring 2015 collection?

Spring 2015 will be exciting, as we are unveiling an entirely new collection inspired by great structures and palaces from across the globe. It’s very architectural and solid but also maintains a level of softness and elegance. We will also be focusing on more gifts for men with bar extensions.

The post A Riveting Chat with Nature-Inspired Designer and Metalware Expert Michael Aram appeared first on Haute Residence by Haute Living.

Highly intrigued by the physical world, Rashid boldly set out to master nearly every fathomable sector in his trade, including graphic, jewelry, interior, architectural and technological design, in order to explore and influence the way physical material shapes everyday experiences.

Garden Chair (Photo courtesy of archiexpo.com)

The renowned artist has since outlined the creation of a wild assortment of things–from small-scale objects like office desks, laptops and (award-winning) vodka bottles, to grander creations such as furniture, residences and hotels–and has collaborated with a long list of luxury product companies in his storied career, including Prada, Kosta Boda, Orrefors, Davidoff, Veuve Cliquot, YSL, Giorgio Armani, Issey Miyake, Estee Lauder and Cappellini.

The eclectic designer is currently working on variety of ventures across the globe, including a condominium in Latvia; three hotels (one in Germany, one in Malaysia, one in Israel); and four residential buildings in Manhattan (in partnership with Israeli developer, HAP). The Canadian native also has a high-end, advanced mobile phone in the works (which, he confessed, is unfortunately still too nascent for him to divulge much about), and is in the process of planning a bevy of interiors worldwide (among them, a dental clinic in his homeland).

Miami Tower (Photo courtesy of Curbed National)

Though some may call him "kooky" for his outrageous, techno-morphic flair, we'd like to consider Rashid–whose work has been featured in art institutions all over the world, including the MoMA and Centre Pompidou–a passionate innovator who simply dares to push the envelope and think outside the norm (albeit to an unparalleled extreme).

Eager to peek into the mind of the seasoned jack-of-all-design-trades, we probed the eccentric craftsman on his personal aesthetic, unique source of inspiration, and thoughts on the potency of design in the modern world.

Semiramis Hotel (Photo courtesy of idesignarch.com)

Your work has often been described as “funky” and “futuristic.” Do you agree with these labelings? In your own words, how would you define your personal aesthetic?

It’s not futuristic because it exists now–it’s present! What I try to do is bring some heightened, emotional experience into one’s life, to elevate a moment and make one feel more alive through inanimate things. I always wondered if design could touch you emotionally, like a film or music can, because it’s a different type of art form. Can I design something that makes a positive emotional feeling? That’s really my underlying goal: to make things more human. Technology and products themselves can be very dehumanizing and just utility-driven. Can I make you break out into a smile or make you feel more comfortable, or provide you with a more engaging experience? Can I make your life simpler and more relaxed? Can I make an object to destress you and rather than stress you? Those are the questions I try to ask myself.

Is that why you use many colors in your work?

I would say yes–color is very emotional. It has a huge impact on us. I’ve been using a lot of color for a very long time, and the world was pretty gray up until the last few years. If I had one percent to do with it [becoming more colorful], I’m thrilled! Now you can buy yourself a digital camera in ten colors. I love that consumers are now embracing color. In architecture, we’re finally starting to see examples of facades that are beautifully colored, and colored glass around the world. It’s a new energy–one that makes us feel better.

Luminous Sun Lounge (Photo courtesy of archiexpo.com)

You have expressed in the past that the digital/information age has been a key source of inspiration for your designs. How so?

I’m inspired by three different aspects of the digital age–first, I’m inspired by the software and the tools that I have. They allow me to do things that could’ve never done before in history. Second, I’m inspired by the digital age’s language, [as I ask myself], if the digital age has a language today that never existed before, what is it? When we look back at periods of language–at say, the Baroque period, or the Belle Epoque period, or Modernism–they were all very much based on the technologies of that era. Today’s digital age is interesting, because the technologies of today are actually immaterial. The digital age is about “nothing”; it’s about immateriality. So I asked, “What would the material world look like if it’s in unison–if it’s working with and mirroring–this immaterial world?” That forced me to try to find and create new, “visual languages.”

Third, just technology in itself–the production machinery–inspires me. Is there a new machine that can make a chair a certain way? A new material that works a certain way? A new production method that could make something better? The digital age for me is all encompassing and inspiring.

Nhow Hotel in Berlin (Photo courtesy of de.ehotel.com)

Have you incorporated any intriguing materials or elements into your products?

Many, many, many things–I don’t even know where to begin!

In a lot of the buildings I’m working on now, I [try to use] interior materials–claddings–that are more efficient and smarter. For example, the flooring that I put down in my office, in the 400-room Nhow Hotel in Berlin, and now in some of the condominiums [I’m designing] in New York is a 100% biodegradable wood, a sawdust that has been created into a panel. The panels–which are made in Germany–are quite large and interlock, making them so simple to install.

The nice thing about the technology is that I can make a print that is totally biodegradable in any color or pattern that I want, so in turn I can make floors look really alive . . . using a completely self-sustainable product. I make different patterns to speak about the digital age, to look like data and information, energy, and 3D. Every time I have a 2D surface, I try to make it look optically 3D, because I think the digital age has [produced] a really dimensional world, [one] that’s far beyond 2D. When I started design in the analogue age, we were designing everything in 2D, but now that I work with 3D softwares, I don’t look at anything in 2D anymore. In turn a lot of the decoration and embellishment that I do [taps into] the 3D world.

Sustainable Home with DuPont Corian (Photo courtesy of archithings.com)

[I also work with new types of] glass, polymers and plastics. I made a chair that I just showed in Milan; it’s made of biodegradable plastic, made from a Chai fruit in Brazil, instead of a material like polypropylene or polyethylene [that is derived] from oil. We can now make plastics that are very high-performing [without oil-based materials], so I’m trying to use a lot of those plastics now.

Is sustainability one of your key aims?

It’s not right on the top of my list, only because a lot of the time when you work for companies, they’re the ones who [determine] what material is going to be used. If a company asks me to make chairs with polycarbonate material that is are derived from oil, it’s very hard to convince the firm to change the material [in order to] produce goods in a way that is more responsible–believe me, I’ve tried! I try to steer them towards what I think are the right plastics to use, [ones] that are more environmental.

I was brought up with the notion of being [environmentally] responsible–I didn’t know what it was like to be wasteful. [Back when I attended] university in Canada 40 or so years ago, I was taught to design products that were either recyclable or regenerative; I would design something so that it could snap apart, and one part of it could go down one cycling stream, while the other would go down another. If I designed a chair, I would make the legs metal and the feet in plastic, and I had to make sure it could pop apart very easily, so that the metal and plastic could both be recycled. [Sustainability] was part of my education. Recently, I designed a water bottle that’s being produced in [an eco-friendly] plastic.

Luminous Garden Sofa (Photo courtesy of archiexpo.com)

How would you define “luxury?”

I don’t see “luxury” in the cliche sense that something has to be made of impressive material, or handmade. Luxury no longer involves just physical material. For example if I had a camera and I wanted to make a high-end luxury version, I could gold-plate it, but I think now we as human beings realize that that’s not enough anymore. What would really be luxurious is if that camera had features [that made it] more seamless in its user’s life [such as intangible technological capabilities]. So “luxury” can be redefined a bit, based on the 21st Century digital view of it. I see it now as a more immaterial concept rather than a material one.

HAP Six (Photo courtesy of HAP)

Describe the power of design, and how it impacts our everyday lives.

The popular take on design is that [designers] make cool forms, or do funky things, but the reality is every manufactured good in the world was designed, for good or bad. The generic stuff around us that doesn’t work well was poorly designed. Design touches so many daily experiences. When I was a professor teaching, I got my students to count how many objects they touch in a day, and the average number was 640. That’s what we interactive with. So of course design has a massive impact on daily life. Because the world is commodity- and capitalist-driven, design is a commercial act–we design things to sell, [which means] design has a huge impact on the economy. At the end of the day, design is good business. Design is also a way of [recording the] progress and evolution of humanity. If you pick up any object from history, like a vase from the Ming Dynasty, [it tells you] so much about the time, the social life, the milieu of that time. These things are designed to document human existence and history. Design really shapes human culture.

What is your ultimate aim as a designer?

Sometimes I realize that philosophically, my intention is similar in all these projects: to really shape the future. What I mean by that is be really cognizant of the present. The technologies, production and construction methods of today shape [my work], which in turn I hope will affect [mankind positively] in the future. I’ve always believed that design is really about moving us forward. It’s not about looking at or copying the past. It’s not about style. It’s about making a better world and a better life.

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