group ceo and executive vice president, Unilever Prestige
Vasiliki joined Unilever in November 2012 after completing a 19-year career with Procter & Gamble. In P&G, Vasiliki led various global, regional and local roles mainly in the Beauty Category primarily working in skin, hair and colour cosmetics. Vasiliki’s first role in Unilever was creating the Pitch Co-Creation (Innovation) Centres in London and New York. Vasiliki also led the development of strategic macro space work that has been pivotal in defining the strategy, innovation pipeline and expertise of the Beauty and Personal Care Category. In 2014, Vasiliki started the creation of the Prestige division from the beginning. Since then, Vasiliki led the acquisition of 7 companies Dermalogica, Murad, Kate Somerville, Ren, Garancia, Living Proof, and Hourglass. Vasiliki leads a team of 8 CEOs and a central multi-functional team that decide strategic priorities, resource allocation and growth strategy for the portfolio. Vasiliki also is in charge of continuous M&A with the objective to growing current portfolio approximately €540m in turnover to €1 billion. Vasiliki is known to have created a first in organisation design of the Prestige business model of the “string of pearls” that is Brand and Founder Centric and innovates in new models of marketing and omni-channel.
Vasiliki is a champion of female entrepreneurs. Passionate about mentoring young people, supporting female leaders, creative talent, and doing social good, Vasiliki is the Chairwoman of the Cosmetic Executive Women, leading industry association in Beauty in the UK.
How do you define luxury, and how is it evolving?
Luxury can mean a multitude of things, but for the beauty industry, and my brands, it has evolved in recent time to mean “experience”. We know our consumers naturally seek out style and slick aesthetics, which the brands within the Unilever Prestige portfolio deliver – but more than ever we see them craving more than this. They want either the human touch, or personalisation, something that feels bespoke to them. It’s this that elevates something from simply stylish design to true luxury.
What lifestyle changes are influencing the design of products?
Our audience definitely like style, but they need simplicity and ease of use too. Lifestyles today are hectic and we’re busier than ever before, so products that look good but also deliver great results are key. For our brands, the best designs are those that look great, offer a different sensorial experience, but that are also easy to navigate.
How can the luxury industry lead the way as a pioneer in sustainability?
I’m proud that our brands are leading the way in sustainability for the luxury beauty space. REN is continuously the first to go to market with new initiatives whether it’s using PCR or embracing new ways of recycling to minimise the impact on the environment. This is not simply a trend, but a must-have. We put a large amount of resources into looking at our sustainable solutions, and work hand-in-hand with retailers – when it comes to sustainability, we all have to be in it together.
The cross-pollination of brands and experiences continues to grow. What future collaborations do you think would be successful, and why?
We’re always open to partnerships and are excited by the growing fusion between beauty and the health, fitness and wellness industries at the moment. We definitely see this continuing to grow as the increase in our openness to more holistic health and beauty solutions increases. But beyond that, there are no rules anymore…influencers who were once focused solely on beauty have now expanded to fashion, fitness, interiors, etc… This opens up a lot of exciting new doors for partnerships that will reach a new, but engaged, audience.
Vasiliki is one of the prestigious experts invited to join the extraordinary jury for the SBID Product Design Awards, alongside other renowned professionals across industrial and interior design, brand development, architecture, educational research and forward-thinking enterprise.
Click here to view the full judging panel.
The SBID Product Design Awards 2020 entry deadline has been extended!
To find out more about entering, visit www.sbidproductdesignawards.com
creative director, Casa Forma
Carolina Sandri has more than a decade of experience designing and implementing high-end interior design and architecture projects in London and around the globe. Trained as an architect, she established her own architectural business in her native country Brazil before moving to London 15 years ago.
Her passion for design excellence and extensive knowledge of the luxury global market makes it possible for her to transform any client’s aspirations into a truly bespoke luxurious space. Her architectural background gives her a combination of creative design skills with a wide range of technical knowledge.
Carolina is the creative director of the award-winning luxury design studio Casa Forma and is responsible for delivering leading-edge residential schemes for international high-net-worth individuals and property developers.
The Retreat New Delhi / Casa Forma
How do design preferences differ between Brazil and the UK?
Brazil is a hot and tropical place, and it's well known for architect Oscar Niemeyer's white concrete buildings. In Brazil designers are freer with their use of colour and more daring in their combinations of different styles, furniture and accessories compared to London. I’ve been working here for more than 15 years, and while a number of new modern buildings with minimalist architecture have been constructed over the last few decades, I would say the classic traditional style is still most appreciated, not only by our UK clients but our clients from abroad. I believe it’s because of this country’s history and strong Victorian design heritage. Of course, every country has its own past in terms of style and elements. There aren’t really typically Brazilian or typically London design preferences. What differs is the tastes and requirements that dictate what’s important to clients and their families’ lifestyles. We design around that.
Country Mansion Surrey / Casa Forma
What is a luxury amenity a client has recently requested?
We’ve seen many crazy luxury requests! A client in Dubai asked us to design a large circular shark tank and incorporate it into an entertainment space. It was also connected to an outdoor infinity swimming pool - separated by a very thick glass wall, of course! It was meant to hold no more than two sharks. Our team was responsible for the design, but not the installation, so we don't know how it came out in the end. We were curious how the sharks would look to a person swimming in the bottom of the pool – almost like a scene from a movie. Our tank design also integrated audio, light and sound systems and controls. Most of our clients want the ability to open blinds and control everything in their home just by touching a button.
Kensington Gardens / Casa Forma
Where are your go-to places for finding new materials for your design library?
I go to a lot of industry events such as Decorex, Masterpiece, London PAD and Design Week, which I find great fun. It's very important to see and hear what our collaborators and suppliers are up to. I use a lot of social media these days. Instagram is especially full of nice suppliers and is an easy way to track new inspirational materials using hashtags. I also really enjoy museums, having been to a lot in the past. Last year I took a client to Masterpiece, which has loads of art, because she wanted to source some pieces. I like to see different kinds of furniture and antique pieces with their own styles. Design Week is a mix of modern and contemporary items. I go to, let's say, six or seven of them each month. There’s always something going on in London.
How do you stay current with changing design zeitgeists, and how is this reflected in your projects?
I read a lot of design magazines like Architectural Digest, House and Garden, Elle Décor, as well as online articles, to keep current with tendencies, but I don't believe in really following trends. There’s nothing wrong about working with the latest trends, but I believe in timeless designs. Styles incorporating neutral colour palettes with textures, layers and well-placed lighting add longevity to my design schemes. This is one of the reasons our clients come to us. They know we’ll design a place they can live in for a long time, maybe changing a few accents and accessories, but the main spaces will be around for five or ten years.
Carolina is one of the prestigious experts invited to join the extraordinary jury for the SBID Product Design Awards, alongside other renowned professionals across industrial and interior design, brand development, architecture, educational research and forward-thinking enterprise.
principal interior designer, Arcadis
Can worked for 15 years in Istanbul before moving to Dubai as principal interior designer for Arcadis. He has been involved in a wide range of multidisciplinary projects ranging from healthcare and offices to residential and educational. He is primarily focused on the technical aspects of the projects; however, his personal preference is for space planning and design.
Fish Market Abu Dhabi / Arcadis
How do interior design practices and tastes differ between Istanbul and Dubai?
I went through a phase of being a super minimalist, that was the style of the practice I worked with a long time ago when I’d just graduated from school in Turkey. And then I came here to Dubai and worked on projects with lots of ornamentation. However, tastes have developed so that modernism now infuses elements inspired by their traditional backgrounds. I love that, because it has character as opposed to what you might envisage as a minimal space in the Western world. Here, it’s very different because it has an Arabic touch. In Turkey, modernism was closer to the Western style with neutral colours. But here, it has a touch of local taste, which is great.
Red Sea Project Coastal Village / Arcadis
Methodologies are definitely different, too, plus it depends whether it’s a small practice of one-to-ten people versus a proper consultancy firm with multi-city locations. They’re worlds apart. If the company is small and it's a one or two-person job, you just do everything pre- and post-contract yourself without the need to produce much documentation. Everything is in your head. That’s how it is where I come from. Projects don't need to be that documented or regimented. You can just get away with things, but that also stings you when it's time for payment, because people take advantage of undocumented services.
Whereas in this part of the world, in the West, or in bigger practices, everything is very documented, regimented, there are milestones and a proper contract. You can't break it, and if you do, there are implications. I’ve adapted to this system, which I like a lot, because people must bear the consequences of what they say they will do. If you don't deliver or if you're not paid for something, there are consequences. I haven't been to Turkey in 14 years, but from what I hear, things are slowly moving in this direction.
Mirdiff City Center Prayer Rooms - Arcadis
How do your designs support local communities?
I’ve worked on projects in India, Africa, Turkey, and the Middle East, and my role has always been to use design to improve people’s lives. When a designer is involved, the whole idea is to create a better, more comfortable, and functional space. I can't imagine that anything produced by the design community would be unwelcome unless it was offensive to people's beliefs or religion. For instance, I worked on the Adobe campus of New York University in Abu Dhabi, which was very welcome because it brought an international approach to education. Another example is the Fish Market in Abu Dhabi, which upgraded the ancient method of displaying fish by arranging it on top of ice dumped onto the floor. We brought the market up to speed in terms of hygiene whilst maintaining their culture and perception of architecture and interiors based on their historical background. We’re currently working on housing for the people who will construct a massive new development in Saudi Arabia, the Red Sea Coastal Village with lower, mid, and high-scale villas and townhouses. Once construction is complete, this accommodation will be converted into housing for the people working in the village.
What changes have your clients been asking for in your recent projects: layouts, materials, palettes, etc…?
Arcadis is a consultancy that implements other people's initial concepts. Sometimes it’s because they don’t have the ability to build a project in another country, so we take on the role of architect of record and develop it towards the construction phase. However, there are also bits of a project we start from scratch. I’ve worked in both capacities throughout my career and see both sides of the process.
The trend is for projects with more natural and subdued palettes as a result of ecological awareness. There’s also a tendency for using different metals such as bronze that become all the rage, but you know, things come and go. I suggest designers take a more holistic, natural approach. There’s also a movement towards open-plan living areas. The bigger the space, the better.
This happens a lot when you have people running a project and making decisions on behalf of other people. But then at last the call goes to the big cheese, who has not necessarily been involved every little step of the way. Suddenly the decision-maker feels something has moved too far away from the initial intent or isn’t what they’d had in mind, and late-stage changes must be made, which is painful as a project consultant. But then of course, there are also changes as far as how space, colours and materials are being used..
How do you anticipate artificial intelligence will affect architecture and interior design practices?
I hope it will be a positive leap, but I don't see it at happening very soon, at least in my part of the world. Everyone wants to design buildings in a BIM environment, but artificial intelligence is usually better for calculation-based things engineers work on that don’t involve personal choice about whether should be black or blue, marble versus rubber flooring, or whatever the preference might be. I can't see this being used much in interior design at the moment. If somehow it is, I’d be delighted because it takes so much off your plate.
Can is one of the prestigious experts invited to join the extraordinary jury for the SBID Product Design Awards, alongside other renowned professionals across industrial and interior design, brand development, architecture, educational research and forward-thinking enterprise.
This week's instalment of the #SBIDinspire interior design series features a unique facility designed to surpass all expectations of a traditional care home. Set in a nature reserve and bringing new standards in comfort and sophistication for later-life in Dorset. The iconic building draws on art déco influences in the surrounding Poole and Sandbanks area, embodying an oasis of calm modern living, and a careful balance of striking design and the delivery of award-winning care.
Cafes, cosy sitting rooms and a contemporary bistro flow from the entrance atrium out to living walled courtyards. Opulent chandeliers and carefully considered lighting flood the home, while natural light streams through from private gardens. Refined decorative details and a bold colour palette, combined with gold finishes and ornate wallpapers give a hint of déco glitz. The contrasting aluminium-clad roof pod offers an impressive orangery style bar, flowing into a roof garden with views to the sea.
SBID Awards: Healthcare & Wellness Design finalist sponsored by The Stone Federation
Practice: Colten Care
Project: Bourne View Care Home
Location: Dorset, United Kingdom
What was the client's brief?
To design an extraordinary home for residential and nursing residents, that provided luxury lifestyle living, in an environment that surpasses all expectations for a care home.
What inspired the interior design of the project?
The wealth of art deco heritage in the Poole and Sandbanks area inspired the design of this project. Modern nods to the art deco period can be found all round the home.
What was the toughest hurdle your team overcame during the project?
The biggest challenge with this project was creating an exciting double height central space that would be the hub of the home, but without being overbearing, and also meet the acoustic demands for an older person. Building on a steep sloping hill plot caused many delays and headaches for the architects and construction team.
What was your team’s highlight of the project?
Whilst creating the entrance and central hub was the toughest challenge, it was also the biggest success, the buzzing environment is a real highlight in the home. The lighting design in this space was a particular success.
Why did you enter the SBID Awards?
The SBID Awards are the most respected awards within the industry, and to be recognised by the awards is a huge accolade for the designers and the company.
Questions answered by Georgina Colwell, head of design, Colten Care.
We hope you feel inspired by this week's Healthcare design! Let us know what inspired you #SBIDinspire
If you missed last week's Project of the Week featuring a palatial villa with 18th century rococo style decadence, click here to see more.
SBID Awards 2019 | Healthcare & Wellness Design finalist sponsored by The Stone Federation
This week's instalment of the #SBIDinspire interior design series features a palatial villa which is designed to embody class, style and opulence. AND Design embraced the client's vision of this house being synonymous with their aristocracy, therefore a Rococo style was chosen to reflect the majestic design scheme. Classical European architecture is known to induce euphoric pleasure thanks to the dexterity of detail bestowed in every inch of the space. The client’s brief also included strict adherence to the contextual Vastu principles (a traditional Hindu system of architecture), aligning symmetry within the architectural layout. With the entire setting spread over a lush landscape, this villa steps back in time to recreate an 18th century nostalgic monarchical setting.
SBID Awards: Residential Design Over £1M finalist sponsored by THG Paris
Practice: AND Design
Project: Private Villa
Location: Karnataka, India
Vastu-shastra is a traditional Indian system of architecture which literally translates to "science of architecture." This building style was at the core of the client’s brief along with a strong bias towards the classics for both architecture and interiors. Our answer? A journey through time and continents to create a living space that defines élan, grace and authority.
Ancient Indian culture lays great emphasis on “Karma” or one’s deeds. The homeowners had achieved much through their actions. Respect, trust, fame and stature. The lush 25,000 sq ft lush landscaped land was a reflection of their achievements and deserved a monument that celebrated it.
We created a palatial villa that stepped back in time to the 18th century. Evoking the nostalgia of French regal residences, we chose the Rococo Style to reflect the homeowner’s status.
A first glimpse of this luxurious home, immerses the visitor in the French era. Travel through the glorious driveway adorned with a bed of spider lilies and classic urns. Further ahead, discover perfectly bobbed topiaries, Victorian statues and a bird bath featuring a cherub with a trumpet. Settle in for a tête-à-tête by the fountain or spend an evening gazing at the assorted petunias cupped in stone urns. Celebrate Indian agrarian living in the open cow barn that creates an intimate dialogue with the contrasting Rococan setting.
The residence is a classic 18th century monarchical setting. Gilt-framed paintings, arabesque stained glass windows, opulent chandeliers, walls upholstered in silk, parquet floored library and pastel schemed furniture reflect the glory of French aristocracy.
The double height formal living room draws your attention to the huge stained glass dome. The entry of light (inspired by the Oculus of the Pantheon) through the floral motifs and the chandelier further accentuates the morning light. An ornate scroll of wrought-iron patina and gilt work sweeps across the majestic staircase inviting anyone who enters to explore further. You will see trademark French finesse through golden-capped pilasters, rocaille patterns, frescoes, lace curtains, carved chairs at the foot of the bed and marble-topped tables with curved legs. Delightful additions include Indian jaalis, art and porcelain artefacts. Fine detailing and a carefully thought-out combination of the furniture and the interior design exudes a combination of rococo regency and opulence.
Even on a hot day, one can step onto the Annex block to relax, containing a magnificent swimming pool, a massage room and a personal salon. The pool has its own contrast - with its warm breccia aurora cladded walls and the cool Byzantine Mosaic schemed floor bed brightened by the skylight. The adjacent theatre offers a grand operatic feel as one sits comfortably in the leather seats with the overhead wooden coffered ceiling. Lights out, let the drama begin!
The challenges were many but exciting. Like consciously complying to the ancient principals of Vastu-shastra in every room while primarily crafting the 18th century Rococan Architectural and Interior Style. You can see it in the auspicious Northern Main Entrance with the odd numbered steps – responsible for bringing-in “positive energy” while providing a pleasant view of the ornate stone fountain. The Portico rests on 8 major Doric columns, continuing to the entrance vestibule and opening to a central open space – the Brahmasthana. Responsible for embodying relaxation and positive energy – at the same time provides for beauty and direct entry for the skylight entry. Other locations followed the North-East Pooja Room, South West - Master Bedroom and Safe and Kitchen in the South-East, abiding by stringent Vaastu principles.
Collaboration of ancient Indian architectural principals and European architectural styles has never been achieved before. Now add to this, all the comforts and luxuries of a 21st century home and you know this is an opportunity like never before.
The SBID Awards values diversity in design disciplines and celebrates global design, creativity and innovation. Being a part of such a prestigious award simply connects us with an international community of industry professionals. AND Design Co. has always strived for creative excellence and we are thrilled at being nominated as finalists in two categories. Attention to detail defines the success of both our projects and we embrace being global while celebrating our Indianess and bring along the same ethic to the awards.
Questions answered by Rupesh Baid, owner & founder, AND Design Co.
We hope you feel inspired by this week's Residential design! Let us know what inspired you #SBIDinspire
If you missed last week's Project of the Week featuring a striking sculptural transformation for dated office tower in Toronto, click here to see more.
SBID Awards 2019 | Residential Design Over £1M finalist sponsored by THG Paris
This week's instalment of the #SBIDinspire interior design series features the complete transformation of the lobby area of a 30-year-old office tower. Once a series of dark, awkward spaces lacking in a clear axis or flow of movement, the lobby is now a bright and airy volume defined by a graphic screen that emphasizes 30-foot-high ceilings. Toronto designers Bartlett & Associates were commissioned to reimagine the space as a welcoming amenity that would attract a stable of noteworthy new tenants. The design team took an architectural approach to the project; removing a disused storage space made way for a public café, while the custom-designed screen was added to anchor the front desk and delineate the elevator bay. The striking black sculptural screen plays off against a dazzling white wall with a surface of subtle peaks and architectural texture.
Practice: Bartlett & Associates
Project: Crown Lobby – 5255 Yonge Street
Location: Toronto, Canada
The mandate from our client, Crown Realty, was to reposition a dated office tower’s lobby for the 21st century. The building is right on Toronto’s north Yonge Street, a prime location that offered the potential to create a significant destination. Crown wanted a space that would inject new vitality into this rather tired building and position it as a desirable location for a more vibrant class of tenant. Our design transformed the lobby from an uninspiring entrance to an energetic amenity that makes a compelling impression on visitors – including prospective leaseholders.
It’s the challenges of a project that typically inspire the best ideas and in this case we were dealing with a modest budget and an awkward space that was completely covered – all the floors, all the walls – in a very dated and dull granite. Tearing it out was cost-prohibitive, so the new surfaces were something we put a lot of thought into. Nature is also a constant source of inspiration for us and adding biophilic elements is something we try to do with all of our projects. As we spend more and more time in our urban office buildings, immersed in digital worlds, it feels increasingly important to make those connections to nature wherever possible. This is often achieved through very subtle interventions, but with this project the scale of the space presented an ideal opportunity to do something big – something a bit more direct, really impactful. So of course that was the screen, and beyond that we used a lot of wood- and stone-look low-profile surfacing that was applied right over the granite to avoid spending a lot of time and money on demolition and to avoid creating a lot of waste.
Resolving the awkwardness of the space while keeping the budget in check was huge. Originally the effect of the high ceilings was all but obliterated by this bulkhead wall that sort of cinched the walls inwards about a third of the way up. It loomed over the elevator bay, feeling very heavy with its stone cladding, and made that space feel a bit ominous. And then the corridor running off the east wall was this dark, narrow tunnel – it was all very uninviting. In the end we tore out a single short, angled wall to open up the corridor and make space for a public café. Then the screen was an amazing solution that both masks that bulkhead and transforms the elevator bay into a cozy little annex. Walking behind the screen to access the lifts offers this sense of discovery, which is a much nicer way to start your work day than trudging through a dark hall. Overall it feels like a cohesive sequence of usable space now, rather than a patchwork of hallways that were strictly for moving through, not for stopping or spending time in.
The screen is definitely the highlight for us – it won an award for the project before the space was even finished and it was also reimagined as an installation piece for the Design TO festival, which is part of Toronto’s Design Week in January. It’s obviously a stunning feature that is also functional, but there is a bit of hidden genius going on there as well: Not only does it hide that awkward bulkhead, but it’s actually supported by a mounting system originally installed for the granite cladding. Most of the granite was left intact and simply covered with low-profile materials, but by removing a bit of stone from the bulkhead, we were able to avoid creating customized brackets to hold the screen. That was a big cost-saver and just one of those eureka moments that you want to have on every project.
Questions answered by Inger Bartlett, lead designer and president, Bartlett & Associates.
We hope you feel inspired by this week's Office design! Let us know what inspired you #SBIDinspire
If you missed last week's Project of the Week featuring a contemporary loft apartment situated above the famous Soho Theatre, click here to see more.
Frazer Macdonald Hay is an expert on the re-use of buildings and their impact on society. His experiences have helped him evolve from an apprentice glazier after leaving school at 16, to working on renowned architectural projects such as the new Scottish parliament and the Zonnestraalin in the Netherlands. Later becoming a successful published academic and the founder of Glasgow School of Art in Singapore.
In the last eight years he has focused on politics and international relations, working with the Orang Suku Laut in Indonesia and a UN agency in Iraq whilst researching everyday sites of violence in Mosul and Belfast; developing his own consultancy, Uniform November, specialising in Place, Peace and Political Violence.
When asked to describe his work, Frazer explained that he was primarily a person who works with the meaning and memories the built environment can resonate in communities. “I’m interested in how the places society creates, evolve and impact on people and their behaviour”.
Our lifeworld and the places therein are established reflecting our relationship with memory, either consciously or subconsciously. I believe these places that we experience are hugely important factors in the development of a sense of self or society, a sense of belonging and how people identify with themselves and others. These places are where lifeworlds are framed and contested. There is nothing that we do on this ‘mortal coil’, that is un-placed. Therefore, place and the memories it orchestrates are hugely important to you and me, and always will be.
Well, without memory we could not function even in the most simple ways. We wouldn’t remember where we live, our past, how to read, write or even walk, so in that way, memory tends to be honest and help us conduct our lives well. That said, it can betray us too, especially in times of stress and trauma. We often take memory and memories for granted, only realising their significance when they let us down.
It goes far beyond just forgetfulness or absentmindedness. They can lead us to remember things differently - we can be manipulated to remember things in another ways and with bias. According to psychologists, there are at least seven ways memory might betray us. Generally, it is important to understand that memory is not passive like a PC or video camera which reproduces the information in its original context; they are fragile, reflective, malleable and susceptible to a range of influences within and outside the brain. I have spent years working with the built environment and studying how people attribute buildings with memories and how these memories help to develop a sense of place.
If you consider that nothing we do is unplaced, in other words we were born in a place, in fact we were conceived in a place; we can’t experience or remember something which isn’t 'placed'. You might therefore ask yourself, why aren’t we more conscious of the places we create and the impact of those we have created?
In 1943, whilst addressing the nation with regards the rebuilding of the parliament building, Winston Churchill said, “First we shape our buildings, then they shape us”. Aristotle also explained that, “Whatever is true for space and time, this much is true for place: we are immersed in it and could not do without it. To be at all - to exist in any way – is to be somewhere, and to be somewhere is to be in some kind of place”. Finally, Hobbs wrote, “No man therefore can conceive anything, but he must conceive it in some place”.
Quite simply an authentic, skilled and mindful use of ‘place’ can help address climate change, migration, poverty, urban development and social cohesion - the list goes on...
For example, the re-use of existing buildings will maintain a community’s sense of place, orientation and a feeling of home, not to mention the ecological sense of retaining a building and its embodied energy. Even if the building has ethical and environmental intentions, it will take decades to repay the embodied energy lost in the process. By embodied energy, I mean the amount of labour and energy consumed in the fabrication of the building; from the harvesting of natural resources and the manufacture and delivery of materials, to the installation of these materials and products within. It also includes the energy required to demolish and remove building components. Working to manage the embodied energy reflects a cradle-to-grave philosophy and is critical to any sustainable approach in managing and conserving our culturally significant built environment.
Another example might be the work I have done in Iraq, highlighting the importance of place in war torn communities full of emotional entanglement and trauma. Reporting to the United Nations how certain everyday buildings in Mosul can perpetuate hostility and amplify trauma. Surfacing the dangers of top down reconciliation through redevelopment, whilst local communities contend with places full of the memories of violence...
If we don’t take place more seriously, I feel we risk living in homogenous surroundings, dictated by economics and technocratic means. There are exciting aspects of the future. The virtual place is growing, the cyber place, the intangible places created by social media which connect communities around the world and inform so many people will evolve as our current interests in knowledge, technology and science seems limitless. I worry though, just like memory, place is only really considered properly ‘once the wheels fall off’. In times of adversity, ‘place’ reveals its integral importance to positive living, as critical in framing social and mental condition, promoting social cohesion and belonging. In many ways place is a rare and precious phenomenon, common to all, a bonding vocabulary which begins as home.
Therefore, the future needs a revolution, a change in how we conceive and manage our places and the conditions they create.
Home – or perhaps, more randomly, the rainbow café in Eilat. I doubt it’s there now, but when I was there in the 90s, it was ‘the’ place where you would go in the morning to line up against its rubble wall and tout for labouring work before the day warmed up. Other builders would drive by and select healthy specimens to do a hard day labouring for them on site! In the evening, once dropped off back at the wall, exhausted, content and dirty, the warm café would be the place to sit with comrades, watch the sunset and share stories.
co-founder and group director, Accouter Group of Companies
Stella Gittins is the co-founder of Accouter Group of Companies (AGC), London’s fastest-growing portfolio of award-winning international interior design companies. Creating the benchmark in luxury living, Accouter Group of Companies is home to Accouter Design, A. LONDON and BoxNine7 delivering world-class interior architectural and furnishing services to the private clients and the global property market.
With 15 years of experience mentoring and directing diverse teams within the field, Stella has spent the last seven building AGC into one of the best places to work in the property industry, as voted on multiple occasions.
Taking a lead creative role for the group, Stella is responsible for all aspects of the brand and design. She has published four bespoke books that discuss every corner of luxury life and feature the inspirations behind Accouter Design’s schemes and collaborations with iconic brands such as Rolls Royce and William & Son. The fifth publication is due to be launched in 2020.
What are some of your secrets for designing a show home that will entice buyers?
There aren’t necessarily secrets, but there’s definitely a method. Designing schemes for private clients in houses they’ll live in themselves is a very different to creating show homes where the ultimate goal is to maximize the value of properties and make them extremely desirable for quick sales or lets. Our job is to ensure buyers or tenants immediately fall in love as soon as they enter.
We are storytellers providing a look into their futures. The easiest way to do that is to develop a design that projects a new lifestyle, spaces that let them imagine how they would live there and utilise each area. We analyse the best characteristics of the location and the kind of lifestyle buyers would expect given these features and the property value. For example, someone buying a property in Chelsea would have different expectations than someone living in trendy Shoreditch: where do they work, where do they shop, what do they read, what do they wear, what do they eat, where do they eat, and what is their social life like? The trick is to imagine who that character is. We brainstorm quite a bit to figure out who the person is that’s going to be walking in the door, and then develop a floor plan accordingly.
It’s a myth that you need less furniture in small spaces. The best solution is to create zones that each have their own purpose. People walking into a large home might think, “Oh, we don’t need furniture because the house is so big and amazing.” But actually, people get scared thinking about what they’re going to do in every single room. We have to provide ideas for what they’ll be doing so they can imagine how their lives would play out in the property.
We like to bring local elements into the rooms to create suggestions that potential owners or renters might get to know the barista in the independent coffee shop or support the neighbourhood bakery.
It’s also important to make a show home memorable. We don’t like to follow interior trends, not only because they might not be right for the area or the specific property, but also because they might not allow the show home to stand out. When someone spends only a little time in a place and then walks out, there must be something that causes them to remember it. For example, we incorporated many amazing antiques into an historic Chelsea Waterfront property by Lots Road in London, plus there was tailor-made furniture we designed ourselves. In one corner was an organically shaped loveseat that would inspire someone to think it was an amazing space. Or it could be an incredible headboard fabric that catches the eye because it’s just a little bit different.
How is design evolving in response to lifestyle changes?
Without a doubt the biggest influence is sustainability. In fact, we publish a book every year and this time it’s entirely centred around this subject. Everyone is becoming more environmentally conscious, including in their interiors. It’s not just a trend, it’s something for life that people are really becoming quite aware of in their homes’ designs. We use a lot of antiques where we can, and people are getting more into upcycling. Our companies are working towards ISO 14001 accreditation, so we’re looking how furniture is packaged in the warehouse, how can we offset our carbon footprint, our paper usage in the office, all those types of things.
Our book also explores how the luxury market is evolving with Bentley, Lotus and Tesla producing electric cars, not just lower-end manufacturers. Sustainability is also affecting where people go on holiday, whether the 1 Hotel in Brooklyn or the world’s first “energy positive” hotel being built in Norway.
Interiors and fashion tend to change side by side, with people investing a bit more in higher quality pieces that last over time. Rather than following trends, our designs for private clients are more timeless with items people will keep for generations. Across all our brands, we try to incorporate old forms of craft as well as things made in the UK, for example art by Nat Bowen who layers resin on recycled acrylic. At our Chelsea Waterfront project, she hand painted gold leaf directly onto the walls. It’s an amazing skill to have because she only gets one chance to do it. But again, it’s not mass manufacturing. It’s just her. We also work with Jennifer Manners who designs amazing rugs made from recycled plastic. Our goal is to think about our projects’ environmental impact and how we can make them sustainable, because it’s important to everybody. And if a developer sees this as a selling point, we can also make it part of the marketing brief for a show home. I think we’re going to see this more and more, and it’s something we push them towards.
Other factors include the growth in healthier lifestyles and the need for convenience. I recently designed a five-bedroom property with timber floors so that a room could be changed into a gym in the future. Its ensuite bathroom was designed like a spa, and its landscape contained a Zen garden.
Our market is very international, and our clients may only stay in their London homes from one week to a couple months per year. So we need to think about full turnkey packages for them, including what bed they’ll sleep in, their sheets, their towels. We make sure they have all the elements needed to live in their homes.
How do you feel about young Instagram design stars who have large followings but don’t know how to write a spec?
Ultimately, everyone has to start somewhere, and I have no concerns about people promoting their passions especially if it helps the design industry. I follow some people myself - but there are different tiers to design.
A lot of these Instagram stars are more into styling, which is one of the hardest things to be trained in because it’s subjective. You don’t necessarily need a qualification to be a stylist because some people just have a natural eye. Some of the best designers aren’t always the best stylists.
It is possible to be an Instagram design star who is good at dressing an interior. However, if they want to evolve that passion into a profession, it’s important they have the correct skillset and training behind them. Being an interior designer and interior architect is very technical. I wouldn’t mobilise a team to work with our clients that didn’t have the correct skills or support.
When working with developers, you don’t have carte blanche to design whatever you want. What are some examples of when you didn’t get your way, and how did you reach a compromise?
Designers can be very passionate about their designs, and developers can be very passionate about what they want. That’s why the briefing stage is so important. The way we overcome it is to always show clients what they want, because they want to know we can deliver what they asked us to do. But if we are passionate about another direction, we need to share our suggestions and try to inspire them in some way. Then the debate starts. It's about saying, yes, we can do what you want, but actually, this is what we recommend. We constantly try to encourage clients out of their comfort zones. For example, in a recent show home, the developer was extremely keen to have artwork that reflected the view, while as designers we wanted something that would contrast. The compromise was an abstract piece that hinted at the form of the buildings around the area. Some of the larger developers have a bigger track record and their own “look” because they have a clear idea of their target market. So this is when we go back to basics, have a bit of a debate, and meet somewhere in the middle.
Stella is one of the prestigious experts invited to join the extraordinary jury for the SBID Product Design Awards, alongside other renowned professionals across industrial and interior design, brand development, architecture, educational research and forward-thinking enterprise.
This week's instalment of the #SBIDinspire interior design series features a contemporary loft apartment situated above the famous Soho Theatre. Angel O'Donnell redesigned and reconfigured this central London duplex apartment on behalf of a private client. The apartment, which spans 1750 sq ft across two floors, boasts a generous open plan living and entertainment space with a spacious kitchen centred around an island and a large, yet cosy living room providing the perfect place to relax above the hustle and bustle of Soho. The show stopping centrepiece of the space is an 20 ft tall retractable roof which can be pulled back almost entirely, opening the room up and flooding it with natural light, creating a sense of inside/outside living.
Practice: Angel O'Donnell
Project: Soho Loft Apartment
Location: London, United Kingdom
The client hadn’t touched the property for 15 years and needed to bring it up to date before putting it on the market. They wanted a fresh looking scheme that reflected the location of the apartment and were concerned that the apartment lacked proper zoning – currently arranged as a totally open plan, one bedroom, totalling 1750sqt - they wanted our help to maximise the cost per sq ft.
Soho provided us with a wealth of inspiration, from its architecture, nightlife, creativity and its unique blend of old and new that works so perfectly in this part of town. We took inspiration from nearby venues like Soho House Dean St which is directly opposite as well as of course the theatre downstairs. We don’t have a ‘house style’ as such, we prefer to take our lead from the properties we work with and the nearby surroundings to create an environment that we believe best suits each particular project.
To further enhance the feeling of bringing the outside in, we adopted an organic and natural colour palette in the living room with green, blue and turquoise hues. A dramatic feature wall was painted in Farrow & Ball’s Inchyra Blue and creates ambience at one end of the room, whilst bar stools in a forest green velvet provide a subtle reminder of Soho’s nightlife. An ivory coloured sofa is also decorated with a mix of cushions in Mulberry and Zinc textiles.
The toughest hurdle was how to turn the huge open plan space into something more commercially viable without breaking the bank & keeping that airy, light filled feeling. Our proposition was to build a wall across the original snug area, with sliding pocket doors. This created a separate room which was multi-functional; snug, study or second bedroom. We also advised the client to keep the kitchen and spiral staircase. These looked dated but by adding the dramatic dark paint colour behind them, gave them a new lease of life and made them look contemporary once again.
Really the highlight was the client’s reaction at the result. They were literally lost for words when they saw the transformation and even though we had created a second room in an open plan space they thought that the space felt bigger. They genuinely felt like this was the home they had been wanting to create for years. Hugs all round !
Questions answered by Ed O’Donnell and Richard Angel, founders of Angel O’Donnell
If you missed last week's Project of the Week featuring beautifully bespoke, authentic and consciously curated interiors for a boutique hotel in the mountains of Italy, click here to see more.
showroom and design manager, Halcyon Interiors
Graham Robinson is the showroom and design manager at the Halcyon Interiors flagship located on London’s Wigmore Street, a road that has become the epicentre of kitchen design.
Over the last 20 years he has developed a passion for contemporary design and honed his eye for meticulous detail, allowing him to create practical kitchens that look stunning for many years to come. Whilst he likes to be aware of current trends, he prefers to give his clients classic looks that transcends fashion.
How can a well-designed kitchen reduce food waste?
When you design a kitchen, find out how your clients are actually cooking. Generally, there are two types of people: those with really big fridges and hardly any freezer space, and those who freeze leftovers. It’s best to have a practical kitchen with spice racks and visible, accessible storage. I like to design larders with pull-up storage features so you can see what food you’ve got. A lot of people have old things hidden at the back of their cupboards, but if items face forward you see all there is and don't let anything go out of date.
People are eating more fresh food now, so it’s good to have refrigeration with nought degree, low humidity drawers that provide filtration so things like salads, green vegetables and meat remain edible longer. You get an extra couple of days and don’t end up just throwing things away. It’s also possible for kitchen cabinets to include a vacuum drawer, so if only half of something has been eaten, you can vacuum seal what’s left inside a clear bag. The vacuum feature can also be used for marinating food or steam cooking in a water bath.
How do your designs anticipate your clients’ future needs, including gadgets and appliances they might acquire?
Most kitchens we create are for houses our clients live in rather than somewhere they plan to sell. We advise them to invest in quality brands because they're won’t go wrong. Talking to them about how they cook is important. Do they need a steam oven? Do they really need a microwave oven or are they anti-microwave? We find out what they’re actually going to need long-term, because maybe in three- or four-years’ time they might no longer use microwaves and move towards steam cooking that’s more healthy.
Most people seem to want taps that provide boiling water, it's definitely growing in the market. Also, it depends on the age of the client, but sometimes features like pull-out storage are integrated so they won’t need to bend down as they get older. When creating a kitchen for a woman in a wheelchair, we looked at details such as oven height and how it opened, how the fridge was configured and where she put her tap. We designed a long thin hob, and because she couldn’t reach the hood, its fan and lights automatically turned on when the burners did. It’s also more popular to have appliances with technology that lets them be monitored and controlled remotely, for example from your phone you can track the progress of your washing machine, your dishwasher, turn your oven on and some ovens let you look at what’s happening inside. Say you have meat in your oven, you can actually see remotely a clear picture of it every 30 seconds. It's slightly gimmicky, but it's there if people want it. Others have a door that opens slightly after the oven’s s turned off so an item doesn’t carry on cooking from retained heat.. The hot air is pushed out and cool air is drawn in so food isn’t overcooked. Some people talk about the fact that gas might not be around forever, so if you’re going to futureproof a kitchen, induction hobs are good to have.
With kitchens at the heart of the home, how do you design for inclusivity and the wide range of activities that take place there?
You initially need to get a real understanding of how the kitchen will be used every day, and then build from there. It’s making sure the kitchen works for the customer in every scenario. For example, will it will be used for functions, and will they cook when entertaining a large number of people or get caterers in? We offer layout ideas for when it’s breakfast for two, how to change it for four people, when doing homework with the children, or if they’ve got the whole family around. You’ve got to make sure there are the right amount of cooking elements and enough storage for however many sets of plates they’ll have for dinner service.
A kitchen has to be right for how someone is going to cook – or not cook. At the moment we’re creating a large kitchen where day-to-day it’s just the four of them, but every Sunday they have a big family function. We’ve designed it as an open-plan space where the island can be moved into an alcove so the table can be extended. Others have separate dining rooms and secondary kitchens for caterers to use when the client hosts large events. Some people are desperate to have places for their cling film, tin foil or store their rubber gloves. One client argued with his wife because she always used a tea towel rather than rubber gloves. In our showroom, we demonstrate the physical space so that clients get a feel for how much room they’ll have between their island and cabinet run. They might see a picture that looks really nice with a row of four barstools behind an island, but in reality, those barstools are never going to be in line and you don't really want to sit in that line, although you might want to sit facing each other.
What’s on the horizon for kitchen design?
Kitchen features are becoming more like furniture. They’re still quite sleek, but with warmer colours and added textures that make them a bit more comfortable and friendly. We’re seeing mechanisms for opening doors in different ways, but some of them are just for the sake of doing things differently rather than an actual invention.
In recent years, the real innovation has been with ceramic worktops you can put hot things on and that are completely non-porous. Whether synthetic quartz or manufactured ceramic, modern counters have lots of interesting patterns and veining that appears realistic, or others look like concrete. These manufacturers copy the stone, marble, and quartz that occurs in nature, but the textures, colours and finishes all match.
Graham is one of the prestigious experts invited to join the extraordinary jury for the SBID Product Design Awards, alongside other renowned professionals across industrial and interior design, brand development, architecture, educational research and forward-thinking enterprise.
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