Portland-based architecture, interior design and planning firm Ankrom Moisan Architects has announced Murray Jenkins as its next president, effective July 1. He will lead the firm from its Portland office.

Ankrom Moisan’s current president, Dave Heater, will transition into a new business development role. He will be based in the San Francisco office. Jenkins will carry forward the legacy established by Heater, according to an Ankrom Moisan press release, by maintaining the team structures, operational continuity, and collaborative culture that have shaped the firm’s identity.

“As president, my goal is to create an environment where our staff feel inspired and empowered, so they can, in turn, inspire our clients through exceptional design and service,” Jenkins stated in the press release.

Over nearly 25 years with Ankrom Moisan, Jenkins has grown through every level of the firm, from architectural intern to vice president of architecture and secretary of the board. His leadership is distinguished by deep institutional knowledge, a steady hand during transitions, and an unwavering commitment to the firm’s values, according to the press release. One of those values is ensuring every employee has a meaningful stake in the firm’s success via an Employee Stock Ownership Plan (ESOP).

As president, Jenkins will lead the firm in deepening its expertise across its core strengths in housing, urban living, office, retail, community, health care, higher education, hospitality and senior communities. The firm will continue to expand its leadership in sustainability and mass timber, while exploring strategic opportunities in emerging markets.

Jenkins also plans to champion innovation across the firm, including the integration of artificial intelligence and other technologies to enhance creativity, efficiency, and impact.

“We see AI as one of the most transformative changes facing the architecture and design industry, and we are approaching it with both curiosity and care,” Jenkins stated in an email. “We’re actively exploring how AI can support our work — both through language and visual models, in-app tools, and emerging platforms.”

The firm’s goal is not only speed but also improving how it designs, documents and makes decisions, Jenkins stated. The firm sees AI as a tool and is actively running pilots and encouraging teams to experiment, while being thoughtful about quality and long-term impact.

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By Andrea Lillo
91��Ƶ Newswires

While the tariff situation remains fluid and breaking news occurs multiple times a day, what is known is that everyone will be affected.

Interior designers shared how they are feeling about – and preparing for – the tariffs in response to an Instagram post from the last week.

“I’m terrified,” said Maria Bortugno of B Designs in Albany, New York. “Even if products are assembled here, many of the parts and pieces are imported … Fabrics, blinds, shades, shutters [and] almost all wood is sourced from Canada. I’ve been getting price increase notices. … Right now I’m adjusting as needed, lowering margins when necessary but just because we cater to the wealthy does not mean they won’t scale back, too.”

Jill Lampe of @designrchick said she is trying to spend as little as possible “in case things get really bad. I already have started a side hustle of consulting clients design on a budget. Making do with what you have and selling my own curated dÉcor and home goods. It’s good extra money.”

Hilton Head Island, South Carolina-based Christina Richardson regrets not being more prepared. She had to reorder faucets for an entire primary suite because she received a notice that the Canadian-made ones she ordered would be delayed four months.

Kevin Twitty has been planning ahead, ordering lighting even if it’s not needed until the fall or later. “I would rather store them until then,” said the Portland, Oregon-based designer. “My markup is a percentage on cost, so other than that, the plan is like every business owner, client’s prices will go up. It’ll be a time to source a little differently and get creative for lower-budget areas of the house.”

Many designers cited using more vintage items in their projects. Orlando-based Bryan Frost named the Original Round Top Antiques Fair and online sourcing for vintage as two great resources, and “we have a lot of local people doing great things with the restoration of vintage in the Orlando metro, too.”

Megan Thompson of said vintage and consignment sourcing is one strategy designers can do to prepare themselves, and she’s even creating a process guide on how to source vintage. (On her own IG feed, she has a video with four tips.)

Even less expensive is repurposing and reusing what the client already has, Thompson said in her video. “When you’re going into the client’s house, start looking [at it] with a different lens,” she said. Instead of demoing everything or throwing out all the furniture, perhaps items can be reupholstered or refinished, or even reused elsewhere in the home, she said.

Others said they were going to source from within their own countries. “As a Canadian, I’ll be specifying Canadian made as much as possible – but certainly some products won’t be easy to replace,” said Sylvie Allain of Bureau Living in Moncton, Canada. “Just hoping and praying that it doesn’t come to a tariff war that drags on and creates financial hardship for both Canadians and Americans.”

When U.S.-based designers are sourcing here, Thompson suggested designers build a list of where manufacturers source from or visit resources such as the for more information. Manufacturing in the U.S. is different from assembling here, she added.

On her IG video, Thompson also recommended designers add 25 percent to every cost in future projects – both for furnishings and building materials – to account for price hikes due to tariffs.

Commenting on its post, IDC suggested designers get as much as possible to receivers now. “You absolutely should have in contracts and communication that prices can go up and you are not responsible for changes after quote. This is the state of things. You need not bear the costs.”

Thompson recommended sending a newsletter to all of one’s current clients to let them know that the pricing they’re shown is good for 48 hours – if the client does not “make a decision and payment within 48 hours, we will have to reprice those goods because things will be ever changing.”

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Kari Thorsen, a principal and interior designer at ZGF Architects, once dreamed of being a medical researcher. Now she instead lays out hospitals’ interiors.

“I spend more time in hospitals (as an interior designer) than I would have as a researcher,” she said. “Once I got my first internship and found out I could design hospitals, I sort of never looked back from wanting to do health care design.”

Thorsen’s efforts recently led to her being recognized by Healthcare Design (HCD) Magazine as an HCD 10 honoree. The annual awards program singles out industry professionals in 10 categories, including interior design.

“It’s a huge honor,” she said. “I am still a little bit shocked. I am still getting used to it. There are some very talented people trying to push the envelope of health care design. Especially in my own firm there are a lot of great designers.”

Thorsen has spent the past 13 years working on projects for CHI Franciscan Health in Washington, St. Anthony Hospital in Pendleton and the Providence Tanasbourne Health Center and Ambulatory Surgery Center in Hillsboro.

The involvement of the community in Pendleton made its 160,000-square-foot hospital one of the highlights of her career, she said. The design aimed to maximize the amount of incoming daylight, which is associated with faster healing.

“The (Pendleton) community was so involved in it,” said Thorsen, who has worked on projects stretching from Ohio to Washington. “The people were amazing, kind and welcoming.”

Because doctors, nurses and patients spend so much time in difficult conditions, they have a special appreciation for interior design, Thorsen said. But designers who tackle health care facilities also must account for municipal requirements.

“There are a lot more codes that we have to follow,” she said. “Infection control and patient safety are the top priority.”

Effective designs of health care facilities maximize space more than those of many other projects, Thorsen said.

“The equipment is not super pleasant,” she said. “We have to try to find a home for those things and make it less intimidating.”

In addition to seeking efficient use of space, designers also aim to create a warm and patient-friendly atmosphere.

“It is an interesting balance of rules, regulations and therapeutic uses,” Thorsen said. “It is this constant battle of code requirements while accommodating oxygen containers and still creating a healing space for a patient.”

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For an expansion of the HP Inc. campus in Vancouver, Washington, designers took a page from some of the company’s upstart tech-industry competitors.

In response to creative office trends, the Columbia Tech Center‘s new 58,000-square-foot addition features an outdoor courtyard with a pingpong table and a bocce ball court.

Every desk in the two buildings can be used by people either sitting or standing; that is a first for the company.

Meeting rooms are named after beer styles (Kolsch, IPA, stout) in one building, and after wine varietals (Pinot noir, Riesling, Merlot) in the other.

HP also has a quiet room known as the “pizza box” in the midst of the office space. The angular space has glass walls topped by reclaimed wood. Small meeting spaces abound.

Software engineers work in a room walled by white boards filled with technical writing.

The spaces are meant to be flexible as the company’s needs change, said Carmen True, an HP Inc. marketing officer.

The pingpong table was employees’ top request, True said.

“A huge part of this was recruitment and making sure we could recruit talent,” said Shane Wall, chief technology officer for HP Inc.

Turner Construction served as the general contractor for the project. Emerick Construction worked on the courtyard portion, including the game areas. The interior spaces were designed by Richelle Nolan, managing principal of IA Interior Architects in Portland.

While other firms are driving a trend toward urban office space, HP opted to expand its existing presence in the office park off of Mill Plain Boulevard, east of downtown Vancouver. That decision came out of focus groups of employees, who said they prefer to remain close to their homes and children’s schools in Washington.

“They really like to be more closely located to where they live,” True said.

HP has had a presence in Vancouver since 1979. It also has a major campus in Corvallis. HP officials would not say how many employees work in Vancouver. The company employs approximately 50,000 people worldwide.

Last year, Hewlett-Packard split into two companies. HP Inc. is expanding to support new initiatives including 3-D printing, which it hopes to bring to a buildable scale, and its enduring PC business. The expansion gives HP Inc. 275,000 square feet at 1201 Tech Center Drive.

The other side of the former Hewlett-Packard, called Hewlett-Packard Enterprise, focuses on servers, storage and networking.

The Columbia Tech Center is owned by Pactrust. The 410-acre campus has more than 3.4 million square feet of office space.

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Design is design, says Randy Higgins of the Felt Hat studio in Portland, no matter who it’s for.

“I’m trying to get people to say the word ‘design’ without qualifying it as graphic or interior or architectural,” he said. “Design is a verb – a way of thinking and getting information and developing a course of action. Design’s general rules apply to anything.”

That is why the Felt Hat, which has provided interior design for multiple high-end men’s stores, didn’t need to alter its design principles for a recent pet store project, Higgins said.

“All retail is relationships, and we’re trying to help them with their relationships,” he said.

The key to a great design is a great idea, Higgins said, noting that he worked closely with project owner Laura Amiton to help fulfill her dream of opening a pet store that features all-natural and locally sourced products, a tasting room for dogs and even a drive-thru window for pickups.

Though the store, The Filling Station Pet Supplies in Tigard, has food and supplies for all kinds of animals, extra provisions are given for dogs. The interior was designed to provide a “dog’s-eye” view.

“When humans shop they also bring their animals in, and we tried to make the space feel more comfortable for the animals,” Higgins said.

In heeding advice of animal behaviorists, display shelves were raised off the floor to provide a canine sight line.

“In a typical grocery store the shelves go to the floor, which creates a maze where (dogs) can hear and smell but not see,” Higgins said. “By raising them up, (dogs) can come into a large space and see the whole area.”

People are welcome to hang out in the store with their dogs, and there are plenty of places, including a “den” area, where dogs can hang out on carpeted areas and play with toys.

Pets can also sample foods in a special tasting area. Amiton’s store, which opened in July, specializes in providing the right food for each pet, Higgins said. The tasting area allows animals to taste certain food blends, and their owners can take home samples.

When pet owners want to pick up food or other products, they can do so via a drive-thru window – and get their windows washed at the same time. While washing customers’ windows is just a fun service, Amiton said she carefully researched what services customers want in a pet store by talking to people all over the area.

“They wanted a smaller footprint, convenience to where they shop and for staff to be knowledgeable,” she said.

The store has met those needs and much more, Amiton said, thanks to collaboration with the folks at the Felt Hat.

“We wanted to have a pet store that felt and looked different from what anyone had seen before,” she said. “Others were either too cramped or kind of like a warehouse, so they came up with a wonderful, thoughtful design approach.”

For example, Higgins came up with the idea for a “taster wall,” where samples of different food products are displayed, Amiton said.

“There’s one for dog food and one for cat food, and you can look at what the shapes of the food look like and get information on the kinds of food,” she said.

Although Amiton wanted a comfortable setting, the space felt smaller than its 3,000 square feet, she said, because of low ceilings. The design team responded by raising half of the ceiling to expose the existing roof deck and leaving the other half lowered for a pantry-like setting with food items. Large photographs of animals are featured in a frieze along upper portions of walls.

The contrast in ceiling height works, Higgins said, because “by making two different spaces, one intimate and tall and the other shorter, it adds complexity and interest.”

In addition to the pet store’s interior, the Felt Hat designed its logo, website and branding strategy.

Higgins, whose wife is a veterinarian, said he has “too many animals” but catering to their needs was part of his design incentive.

“I’m used to hanging out with animals and so are Laura and her staff and customers,” he said. “It’s a growing thing that in pet ownership they’re more like parts of the family, and we wanted to cater to them like you would cater to any other family member.”

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The Oregon chapter of the International Interior Design Association will host a tour this month of three award-winning Portland projects.

The 2015 IIDA Oregon Design Crawl will take place on April 23 from 5:30 to 9 p.m. starting at Block 300, 308 S.W. Second Ave. From there, transportation will provided for up to 80 people to the Reed College Performing Arts Building and the Commissary Café.

All three tour sites were honored last year for exceptional interior design in IIDA Oregon’s Design Excellence Awards. The awards program recognizes interiors work by Oregon and Southwestern Washington interior designers and architects.

During last year’s awards ceremony, Portland-based ZGF Architects received an honorable mention in the corporate category for the Block 300 office building. Portland-based Opsis Architecture earned the “best of” award for in the education category for Reed’s Performing Arts Building in Southeast Portland. The “best of” award in the hospitality, restaurant and retail category went to Portland-based Fig Studio Architecture + Interiors for the Commissary Café in Northwest Portland.

The interior designers from each of the three projects will lead tours of the sites during the Design Crawl, said Kim Gonzales, a spokeswoman for the Oregon IIDA chapter. The architects, project managers and clients may also be on hand to answer questions and discuss the projects, she said.

The idea is to offer tour attendees insight on the lauded designs, Gonzales said.

“We try to get people a chance to go through and visit some of the best design in Portland,” she said.

A tour of Block 300 will take place from 5:30 to 7 p.m., the Performing Arts Building will be on tour from 7:20 to 8 p.m. and the Commissary Café tour is scheduled for 8:20 to 9 p.m. Appetizers and beverages will be served at the first and last tour destinations.

The cost of the tour is $30 for IIDA members, $40 for nonmembers and $20 for students. Event registration is available .

Tour attendees can earn a credit through the Interior Design Continuing Education Council.

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Advocates for allowing Oregon interior designers to stamp their own construction drawings are ramping up efforts to create a state-approved licensing program for the profession.

A bill proposed earlier this year, Senate Bill 1521, was backed by the Interior Design Collaborative and would have required interior designers to obtain a license to work on commercial spaces. It gained some traction, but failed to advance out of committee. However, IDC-Oregon recently hired a lobbyist, and members plan to reintroduce a revised version of the bill early next year.

Oregon interior designers cannot stamp their own construction drawings, but must instead rely on an architect for some projects to move forward, said Ingrid Hoffman, a senior interior designer with LRS Architects and a public representative for IDC-Oregon. A state statute also does not include interior designers in the definition of registered design professionals who can sign off on project plans before obtaining construction permits, she said.

“All we are saying is that we want to be recognized as a registered design professional if we have these qualifications,” she said.

Proponents of the legislation say licensed interior designers have sufficient knowledge of building and fire codes to attest to the safety of tenant improvements and other solely interior projects without the oversight of an architect. The American Institute of Architects disagrees. Nationally, the professional organization’s official position on the issue is that only licensed architects and engineers possess the necessary education.

Oregon AIA Executive Vice President Robert Hoffman said the chapter stands by the national position, but one of the questions on a current survey of Oregon architects asks for their opinions on allowing interior designers to stamp construction drawings. The survey results could reshape the chapter’s position on the issue, he said.

If legislation like SB 1521 were to pass, Oregon would join 28 states and Puerto Rico – they for interior designers, said Roberta Pennington, an associate interior designer with Ankrom Moisan Architects and vice president of advocacy for the Oregon chapter of the International Interior Design Association. Such laws identify and regulate the qualifications of interior designers to stamp drawings and obtain building permits, she said.

“All of the states’ governments have seen that it’s beneficial,” Pennington said. “It basically defines our scope to say, ‘I’m a registered design professional. Let me permit.’ ”

Under the Oregon interior designer licensing proposal, a board of industry professionals would issue licenses to designers who have achieved certain standards for education and experience and passed an examination administered by the National Council for Interior Design Qualification. These licensed professionals would then be recognized by the state as qualified to stamp construction drawings for commercial interiors projects.

Residential interior designers, kitchen and bath designers and consultants, and consultants at furnishing stores would not be required to register.

In the past, proposed legislation to create a state interior design licensing board has turned off legislators because they see it as an added layer of bureaucracy, Ingrid Hoffman said. The latest bill may scrap this idea and instead simply advocate for state recognition to stamp drawings for interior designers who have passed the NCIDQ examination, similar to the National Council of Architectural Registration Boards test for architects.

“We don’t necessarily need our own board,” said EMC Interior Design’s Ellen Cusick, an IDC member. “It would be nice to stamp my own drawings.”

State-recognized licensing would eliminate the need for Oregon interior designers to constantly justify the work they do and allow projects to move along quicker without an architect getting involved, Pennington said.

“It streamlines the process for our clients,” she said. “I often have to qualify my level of expertise.”

Allowing interior designers to stamp would also bring down the cost of doing business in Oregon, Ingrid Hoffman said.

“We’re never going to be able to compete on equal footing (as architects) because we’re always going to have to charge our fee plus a fee to hire an architect to stamp our drawings,” she said.

Although city of Portland building officials often interpret the state statute on registered design professionals to include interior designers, staffers from other Oregon cities insist that an architect stamp the drawings, said Andrea Bainbridge, owner of Portland-based interior design firm Bainbridge. That can be tricky for the interiors-only firm that has no on-staff architect.

“We have situations where we do have to go through an architect,” she said. “That’s been a problem because our long-term clients will often know they better just hire an architect. So it’s definitely lost us business.”

Misconceptions about the scope of what interior designers do is one challenge to getting licensing legislation passed, Cusick said.

“It would be a lot more clear about what we’re allowed to work on,” she said. “Architects can charge more because they have that stamp … I think a major barrier is people don’t understand what interior designers do. They think it’s all pillows and paint.”

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The International Interior Design Association’s Oregon chapter is seeking project submissions for the 2014 Design Excellence Awards.

IIDA Oregon started accepting submissions this week; they’re due by Sept. 24 at 4 p.m. This year, the chapter is accepting only digital submissions, board member Kim Gonzales said. Submissions can be made online at .

Interior projects completed between Aug. 1, 2009 and Sept. 1, 2014 by architects, interior designers or industrial designers working in Oregon or Southwest Washington are eligible for awards. Categories include corporate, education, public, health care, residential and retail projects.

A jury will select the winners based on project challenge, originality of the design solution and the successful integration of planning, interior forms, finishes and furnishings.

Winners will be announced at an awards ceremony scheduled for Oct. 23 at 5:30 p.m. at McMenamins’ Crystal Ballroom, 1332 W. Burnside St., Portland. Tickets for the event are $40 for IIDA members, $35 for board members, $45 for affiliate organization members, $60 for nonmembers and $20 for student members.

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Andrea Bainbridge was glad to revamp a Portland State University student lounge that her interiors firm, Bainbridge, designed a decade ago.

“Right now, the space is nothing but a big room filled with tables and chairs,” she said. “It doesn’t gather people.”

PSU this past spring hired Bainbridge’s firm to study the feasibility of remodeling on a limited budget the 3,842-square-foot Parkway North lounge in the university’s Smith Memorial Student Union. In June, university officials gave firm staffers the go-ahead to design the project in time for it to be completed by the time students return this fall.

The project team, for a cost of approximately $200,000, is transforming the look and feel of the space so that it can better serve its dual purpose as a study area and event venue, Bainbridge said. A small corner stage will be enlarged and moved to the center, and theater lighting and acoustical drapery will be added. To make the lounge a better performance venue, firm staffers worked with a sound engineer and a lighting consultant.

Other changes to the lounge will reflect feedback from students, Bainbridge said.

“They wanted it to be gritty,” she said. “They wanted an urban, gritty music (venue).”

A new color scheme and graffiti graphic wall panels will help achieve this look, Bainbridge said. Also, the carpet will be removed, exposing the concrete floor.

“Right now, the space is really light and bright, so we’re going to get a dark gray ceiling and walls to get it more urban,” she said.

A new raised platform with a steel mesh railing will provide seating next to windows that face the South Park Blocks. This will enhance views from passersby into the below-grade lounge, Bainbridge said.

“You’ll see people’s heads,” she said. “People outside can see what’s happening inside.”

The remodeled lounge will better serve students’ needs, PSU construction project manager Kay Byrne said.

“Smith (Memorial Union) is basically the students’ building,” she said. “They determined there was a need to have something that was more of a comfortable gathering space for groups. There was nothing there that’s really that inviting for gathering and entertaining.”

PSU is a longtime client of Bainbridge’s. Her firm since 1998 has designed interiors throughout the student union. She said it’s been nice to go back and start refreshing those spaces.

“We have a long history in that building of remodeling different areas, and now we look at it and say, ‘It’s dated and tired,’ ” she said.

Because the lounge remodel project will be paid for with fees collected from students, their input played a crucial part in the design process, Bainbridge said. The design team met with student event and performance organizers, student government leaders and members of a student funds appropriation committee.

PSU students were clear about what they wanted, turning down initial remodel design concepts as too café-like, Byrne said.

“They said, ‘No, no, no; that’s more Starbucks. We want more grunge,’ ” she said.

Some of the students’ comments, such as a request for a black light, surprised Bainbridge.

“That’s still cool?” she asked them. “It was fun to find out that a grungy bar hangout has not changed in 40 years.”

Also important to the students was creation of a campus space where they had complete ownership, Bainbridge senior designer Heidi Payne said.

“Their overriding thing was a place just for the students,” she said. “The students voiced that they didn’t have a space for them.”

PSU is serving as the general contractor for the project, and crews started construction last week, Byrne said. The project is scheduled to finish by the end of September.

Smith Memorial Student Union Parkway North lounge remodel

Location: Portland State University

Cost: $200,000

Construction start date: mid-August

Anticipated construction completion date: late September

Interior designer: Bainbridge

General contractor: Portland State University

Other associates: Listen Acoustics; Robert Dupuy, lighting designer; System Design Consultants and Spectrum Systems Design

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I just finished my first term as a masters student in architecture at the University of Oregon. The last time I designed a building from the ground up was in 2000 during my undergraduate, so this term was a challenge for me. In my interiors practice I worked within constraints such as already built or designed core and shell spaces. Building form and elevations were not in my scope. I liken architecture to sculpture making, while interior design is carving negative space. The thought process is different. The project was to design a “Generation House,” a building with daycare and independent senior living in the Goose Hollow neighborhood.

At the beginning of the term I struggled with form making, attempting to design from the outside in. After eight iterations of garbage, I decided to give up and design how I knew best: inside out.  After all, Frank Lloyd Wright said buildings should be designed from the inside out. I employed my already honed skills in space planning to get a better idea of how much space each element of my program would need. Utilizing knowledge of human interaction in space, standard space needs, and scale, I solved the complex problem of laying out a daycare and apartment building on a site that sloped in two directions. The layout of spaces informed my building form. By breaking up the program into smaller pieces, I created a building that is a city block long, but divided into smaller scale parts in a rhythm that is more in keeping with the scale of the residential part of Goose Hollow. The inside informed the outside. Not to say that architects should not design from the outside in. In his 1991 Pritzker Prize acceptance speech Robert Venturi noted that the site context is just as important. Architects must design both from the outside in and the inside out. Some of my classmates designed from the outside in and struggled with laying out spaces within difficult geometries. I struggled with the elevation of my building, which ultimately was the weakest part of my project. A two-fold approach and perhaps a little more time would have yielded a stronger solution.

The question I am left with at the end of this term is should architects study interiors or should interior designers be involved earlier in the design process? I say both. Just as it is important for interior designers to have some basic knowledge of architecture, as required by CIDA accreditation, architects should have an understanding of interior design. Interior designers should also be involved in the early planning process. It is like utilizing a mechanical engineer early in the project to create a more efficient building.

I have designed tenant spaces in a variety of buildings in the Northwest. Some, I felt, had been designed without much knowledge of what will work on the interior. These buildings have odd bay depths where I ended up with a 7-foot hallway in the tenant space, or where a less efficient layout is required to avoid having a column in the middle of a conference room. One building, in which we were contracted for the FF&E package, had offices that were only seven feet wide. Another building had such a narrow south bay depth that the tenant spaces had to be enlarged beyond what the program required to get the required second exit. This creates a more expensive space for the tenant. Having an interior designer involved early, especially for buildings that will have tenant spaces, can help create better rentable space. Architects and interior designers, while having knowledge overlap, do think differently. We can inform one another to create a stronger, more successful project.

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