This week's instalment of the #SBIDinspire series features the luminous and mesmerising 'Peace Palace' located in the heart of Taipei which boasts a total of 38 floors. The lobby, with its magnificent 17 meter high ceiling, hosts an incandescent light installation named “The Flight of the Cranes” which was imagined and created by the designer Lorenzo Tondelli. Over the lighting elements in polished brass, you will see purple, red and gold Murano glasses, which when lit from the back, reflect a myriad of colours across the installation and the walls, which creates a surreal and dreamy atmosphere.
The huge columns created in white marble were inspired by the classic Greek-roman temples, which exalt the vertical space. The large reception counter gives the illusion of being sculpted from a unique solid marble block. A second space, next to the monumental entrance, separated by majestic doors in wood and cast bronze, offers a library corner dedicated to reading, a big angular living room and some reserved areas to make conversation. The bar counter and the grand piano for live music, create a relaxing and comfortable atmosphere.
SBID had the opportunity to speak with Lorenzo Tondelli Founder & Designer of Lorenzo Tondelli Studio.
Company: Lorenzo Tondelli Studio
Project: Peace Palace
Project Location: Taipei, Taiwan
What was the client’s brief?
The client wanted a project that created a strong emotional connection and impression. He found a space with an available height of 17 meters. He requested that we take advantage of and enhance this height in order to surprise the visitors. We decided to design a mesmerising, large scale light installation to illuminate and mark out the available space.
Within the second area there was a metal structure supporting the building, the client asked for the structure of the second area to inspire the aesthetic of the furniture - making it a main element in the project. The furniture in the area needed to be elegant and luxurious, creating in a contemporary style with occidental taste, juxtaposed with references to Asian culture.
What inspired the design of the project?
The inspirations for this project include a passion for Asian culture and history mixed with the traditional Italian handcrafting know-how. Regarding the light installation, I envisioned a flock of cranes flying lightly and graciously in the lobby hall space. From the moving and beating of the cranes’ wings, colourful feathers come off softly and float gracefully in the air. This is the vision that inspired the installation.
What was the toughest hurdle your team overcame during the project?
I had the chance to work with highly trained professionals that assisted me, helping the project run smoothly. We only struggled with communicating our ideas and visions a few times. I care deeply about the quality of my furniture and of my projects! Details and finishings must be perfect; they make a space worthy of being remembered and truly appreciated by the people who live in it.
What was your team’s highlight of the project?
The moment when the light installation “The Flight of the Cranes” was turned on for the first time! The reflections coloured by the Murano glass adorned the walls, all the elements of the project took life and amazed all the people in the lobby; I was really excited and I realised that my work was complete.
Why did you enter the SBID International Design Awards?
I thought it would be interesting to take part in an international and prestigious contest known all over the world as The SBID International Design Awards; moreover I knew it could be also a good way to get in touch with other design professionals, to keep informed on the news and to be part of the SBID society.
Questions answered by Lorenzo Tondelli, Founder & Designer of Lorenzo Tondelli Studio.
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We hope you feel inspired! Let us know what inspired you #SBIDinspire
Lorenzo Tondelli Studio | SBID International Design Awards 2017
This week's instalment of the #SBIDinspire series features the cutting-edge and futuristic flagship showroom dubbed 'The Wave' for Toyota in Abu Dhabi. Al-Futtaim Motors is the exclusive distributor of Toyota in the UAE. Following its acquisition of ‘The Wave’ building, design consultancy Greenspace, was commissioned to create a contemporary and unique flagship and redefine the standards for retail and brand experience for Toyota.
The Wave is set over five floors of 14,000 m2 of retail and service space. The challenge for Greenspace was to plan the circulation throughout the buildings and differentiate sales, display, hospitality and interaction zones.
The interior design vision from the outset was to provide a modern and minimal aesthetic achieved by using undulating fins with inset premium lighting above smooth, white and grey ceramic flooring slabs.
Greenspace also included a family zone, complete with racetrack and drivable electric cars, travelator tunnel to join the buildings and a digital design studio area.
SBID had the opportunity to speak with Adrian Caddy, CEO & Founder at Greenspace.
Company: Greenspace Ltd
Project: AFM Toyota 'The Wave'
Project Location: Abu Dhabi, UAE
Al-Futtaim Motors’ brief was to create a ‘unique retail concept’ to drive the complete interior and exterior fit out and the total customer experience for the ‘Wave’ facility, including:
Brief objectives
Based on Toyota and Al-Futtaim Motors’ shared brand vision, ‘Passion for Better’ was the creative inspiration for all the architectural and interiors, lighting, digital and experiential design development undertaken by Greenspace.
“We wanted the entire space to feel as if has been constructed from light waves, drawing the intensity of the exterior light through the building via the horizontal light contours on every floor.” — Adrian Caddy.
The signature style of the entire interior space uses simple, mathematical lines and radiuses. The curved lines of the Wave exterior are echoed along the length of each floor by suspended white fins that are contoured from the front to the back of each floor.
Planning, designing and installing a completely new circulation system to enable high numbers of visitors, as well as the cars themselves, to move easily around a 9,500m2 retail space was the biggest challenge Greenspace faced.
“The needs of all types of customers were considered in great detail through the customer journey planning workshops and the outputs fully informed the interior architecture and experience design process and their subsequent implementation” — Adrian Caddy.
Greenspace designed the architectural interiors following rigorous circulation and customer journey planning, the results of which led to the construction of 2 new escalator cores, a vehicle elevator, and a 50m covered bridge incorporating moving walkways that spans the retail showroom and the service centre workshops. The new escalators, moving walkways and lifts enable customers to explore the giant flagship with ease.
Probably the greatest achievement of the project is that fact that the Wave retail flagship experience is augmented by digital screens on each floor, providing customers with information and interactivity through multiple touch points.
“We decided very early on to eliminate displays of printed brochures and other forms of traditional point of sale, in favour of a seamless digital experience guided by hosts in the service of customers.” — Adrian Caddy.
The entire customer experience was designed to be paperless, and instead, utilising digital technology to engage and inform visitors seamlessly.
We were attracted to the SBID International Design Awards because of the recognition they provide to design excellence across diverse sectors and because they have the ability to attract international attention.
“As a London-based company with a specialist reputation, we were delighted to create the new Toyota retail flagship experience in Abu Dhabi. This is a unique project with real ambition that will create a powerful legacy for all involved. To win an SBID International Design Award would be a great honour to all involved.” — Adrian Caddy.
Questions answered by Adrian Caddy, CEO & Founder at Greenspace
If you missed last week's Project of the Week with No.3, One Park Shanghai Click Here
Greenspace | SBID International Design Awards 2017
This week's instalment of the #SBIDinspire series features an extravagant residential space located in Gubei, Shanghai, a finalist in our Residential over £1M category last year. The aim of the project was to create a prestigious and comfortable home which encompassed all the requirements of the owners, namely style and business functionality.
In the living area, the Portugal Grey marble flooring perfectly matches the jade marble TV wall, exuding ultimate elegance. The graceful accent continues in the adjoining dining area with the Shangri-la black marble mini bar creating a subtle yet elegant space. The master suite is topped with dark-oak flooring and light carpet to illustrate a contrasting visual effect of warm and cool colours, conjuring up a holistic luxury experience. In bedroom two, the brown palettes work together with the glossy wood finishes create a luxurious, streamlined look. With carefully selected materials and furniture, the designer has arranged the space with a contemporary approach, creating a refined, tasteful and luxury residence for its owners.
SBID had the opportunity to speak with Chong Chiu Fung, Chief Creative Officer at Steve Leung
Company: Steve Leung Designers
Project: No.3, One Park Shanghai
Project Location: Gubei, Shanghai, China.
The project is situated in Gubei, which is a premium location for residence. The target demographic for this project was wealthy families with a high income, so we needed to create homes that reflected their status, lifestyle and taste for the luxurious.
Also, as lots of the owners are businessmen, we needed to take into account their specific requirements, including work spaces for their everyday business needs.
Italian design was a big inspiration for this project - especially their premium leather which is known for its craftsmanship and high quality. Italian design also possesses a certain substance and originality. To create an absolutely luxurious and indulgent experience for the residents we felt that adding Italian furniture and decors would not only lift up the whole space, but would also appeal to the style and the taste of the owners.
Located in the heart of the prestigious Gubei International Residence area, the client hoped that One Park Shanghai would not only serve as an extravagant residence but also serve as a place for business. Due to the fact that residential and commercial/business designs are different in terms of the ambience and functions, the design team had to find a way to accommodate both needs and requirements.
In the end, the design team were able to create a space that satisfied all the needs of the owner. From the colour palette to the material selection, the design director hand-picked fabrics, upholstery and wallpapers in Italy and created a chic home space with an official work station tailored for business. Sophistication and extravagance is demonstrated through the use of lacquered wood, hand-woven leather finishes, grey patterned marble, silk finishes and brushed stainless steel finishes, etc.
The residence was a very large space so the design team had to make use of careful spatial planning with different zones designated for different purposes. We took the client's brief and starting working on it. After the design proposal, the client was very happy as we were able to take all their needs into account. They were excited about the design and gave us free rein on the development. Of course there were some changes during the course of the project, however we would say that the client really believed in us and trusted that our work would create a perfect match for them, and it did!
To win an SBID Award is a very prestigious achievement and we hoped to demonstrate our extraordinary work through this platform.
Questions answered by Chong Chiu Fung, Chief Creative Officer at Steve Leung
Steve Leung Designers | SBID International Design Awards 2017
This week's instalment of the #SBIDinspire series features David Chang's Poly Garden Presentation Center. The Poly Garden Presentation Centre, located in Zhaoqing at the west end of the Pearl River Delta of Guangdong Province, China, is a truly exquisite residential project. The project was inspired by traditional Chinese culture yet the design is also modern in appearance. David Chang and his team pulled inspiration from both Western and Chinese culture, namely Emperor Song Huizong and the Song Dynasty (AD 1118) as well as beautiful Chinese calligraphy, to create a breathtaking project that also serves to regenerate the area surrounding it.
SBID had the opportunity to speak with David Chang, Founder of David Chang Design Associates International.
Company: David Chang Design Associates International
Project: Poly Garden Presentation Center
Project Location: Zhaoqing, China
The project is located in Zhaoqing, and Zhaoqing is a prefecture-level city in west end of Pearl River Delta of Guangdong Province, China. Zhaoqing Poly Garden is a multi-family residential project, which was developed by state-owned developer, Poly Real Estate Group. The entire project covers an area of 140,000 square meters with buildable area of 360,000 square meters. The project is considered to be a major residential development that will regenerate the area and therefore upgrade the living standard of the city. This Client wanted to create a unique presentation center which embraces both western and Chinese culture in a modern yet classic context.
In the Song Dynasty (AD 1118) the 8thEmperor Song Huizong changed the name of Duanzhou to Zhaoqing, meaning “the auspicious beginning of a festival”. Emperor Song Huizong possessed many talents which included painting, horse riding, archery and calligraphy. Notably he created a Chinese calligraphy font now called I“Shoujinti”; meaning “slim golden font”. We incorporated the aesthetics of his calligraphy and silken painting style to develop the concept for the interior architectural space and integrated these into the detailing and motifs throughout the complex. The finely detailed and serene wall paintings, glass panel and mirror fretwork, refined railings and flowing line chandeliers all chronicle Emperor Song Huizong’s contribution to Chinese culture. We juxtaposed these references with classic Greek Corinthian columns and pediments that were used to pronounce the foyers leading from the central octagonal congregating hall to the display model area, bar, lobby and negotiating areas.
The original structure had no skylight in the center of the building. In order to bring a large influx of sunlight into the inner building, we used inspiration from local architecture - a courtyard space found in Southern China, to create a 14 meter dome with a skylight. Not only does it give the space a sense of grandeur, but it also allows ample natural light to shine through.
The delicate colour palette of black, grey and white is inspired by the aesthetic of the historic Chinese calligraphy brush, ink and ink stone. Soft veined marble in traditional fretwork patterns once again echo the delicate Song Dynasty influences. The soaring 14 metre high Octagonal-shaped Hall is crowned with a luminous stained glass skylight creating a strong sense of grandeur that reverberates throughout the entire project. Lofty gallerias and illuminated, tenderly curved barrel vaulted ceilings also echo this majestic ambience.
We desired to share our amazing design with the world, and SBID is an international and prestigious award, which not only recognises the excellence in design but also serves as an excellent channel to expose it to the world.
Questions answered by David Chang, Founder of David Chang Design Associates International
If you missed last week's Project of the Week with Hôtel Royal Savoy Click Here
Entries to the SBID Awards 2017 are now open and accepting submissions, to find out more and enter Click Here.
David Chang Design Associates International Ltd | SBID International Design Awards 2017
This week's instalment of the #SBIDinspire series features MKV Design's glorious renovation and extension of Hôtel Royal Savoy, Lausanne, Switzerland. Drawing on the Art Nouveau heritage of the original property while redesigning the spaces in the old building, aiming to delight today’s international travellers and local guests. By contrast, the new wing is resolutely modern in style with smart, streamlined interiors. Throughout, luxury has been taken to a new level with elegant new guest rooms, magnificent suites and captivating public areas while connection to the hotel gardens as well as the city has been restated with ingeniously created views at both ground level and from the rooftops.
SBID had the opportunity to speak with Maria Vafiadis, Founder and Managing Director of MKV Design.
Company: MKV Design
Project: Hôtel Royal Savoy
Project Location: Lausanne, Switzerland
Hotel Royal Savoy was once one of Lausanne’s Grandes Dames but was closed and in disrepair when the project began. The vision was to reinvent the legend, taking design cues from the old building but essentially creating a new hotel. In the process, the footprint of the hotel was virtually doubled with the addition of a new wing.
The concept of the classic grand hotel is particularly Swiss and design inspiration was found in the hotel’s beautiful gardens, its quintessentially Swiss views of Lake Geneva, the Art Nouveau heritage, whispers of history and the owner’s private art collection.
The new plan takes guests on a journey through distinctive spaces, each one heralded by a custom-designed decorative screen. From the classical arrival hall onto the lounge where a grand double-height space is revived as a glamorous showpiece with dramatic lighting and new furniture that hints at Art Nouveau. There are new plaster mouldings, in a style similar to the original, while elegant hand stencilling replicates earlier decoration to the walls. The bar is the next stage, looking towards a new glazed extension and the sudden vista of the gardens. To one side, the walkway, which may be fully opened-up to the sunshine, flows through the garden to the new building.
In reality, there weren’t any great hurdles in this project. We’re used to reinventing Grand Dames for the next generation and always find them a great joy and privilege to work on as we relish the research and sensitive considerations that this kind of project involves.
The spa was a certainly a highlight for us. The boldly contemporary design means that it is completely unlike anything else that Lausanne has to offer and it is thrilling to see how well it is being received by both hotel guests and local people. It was also a real pleasure to be able to work with some of the original elements of the hotel such as a historical wall mural depicting a rural idyll, which was relocated from the entrance lobby to the restaurant, as well as antiques and artwork from the owner’s personal collection.
Further to this, the team relished the opportunity to create guestrooms in both the new and heritage buildings that made the most of the spectacular views over Lake Geneva and the beautiful hotel gardens. The opening up of the rear of the original building with the glazed extension and terraces continues this connection between indoor and out.
SBID is one of the most highly respected awards schemes in the industry. We value the calibre of the projects entered and take pride in having our work judged by such an esteemed panel.
Questions answered by Maria Vafiadis, Founder and Managing Director of MKV Design
If you missed last week's Project of the Week with JHP Design, click Here
MKV Design | SBID International Design Awards 2016
Photography by Robert Miller.
This week's instalment of the #SBIDinspire series features JHP Design's stunning Muscat based Amouage project. Middle Eastern brand Amouage is a luxury perfume specialist. Known for incorporating local Frankincense into their perfume they have now expanded the brand to include home and accessories. The centre in Muscat integrates perfume production, a working factory, offices, a visitor centre and a very sophisticated shopping experience.
SBID had the opportunity to speak with Creative Director & Joint Managing Director Raj Wilkinson.
Company: JHP Design
Project: Amouage
Project Location: Muscat, Oman
Amouage commissioned JHP to design a new visitor centre and factory at their headquarters in Muscat. (Owned by the Omani Royal family, the brand is now a truly international business with shops and accounts in 52 countries.)
JHP worked on the project for more than five years with a remit that included the centre's architecture, visitor experience, landscaping, and retail design.
As the Amouage brand grew internationally, and with more and more people visiting Oman, more people became exposed to the brand. It was a natural decision to expand the home of the brand – its factory.
The design of the new building was to enable the business to increase its production to 20,000 bottles per week from the current 8,000 as well as to provide a memorable experience for tourists and visitors to be educated in all aspects of perfume creation.
The factory’s design was influenced by the brand itself. The Amouage brand palette was taken into the more industrial aspects of the factory. It was expressed liberally in the more luxurious aspects of the visitor centre and by way of a slight diversification in a minimalist way it is employed in the retail gallery. We consciously paired back many conventional retail and display strategies and displayed the product in glass boxes in an environment more akin to an art gallery than a retail store.
The main challenge arose from the complexity of managing a design programme which was based around the construction of a new building on an existing facility which included live buildings such as Amouage’s offices and original factory.
The existing factory carried on in operation before it was part demolished and part integrated with the new offer.
The second issue was in meeting the client’s aspirations for the building to be of the highest international standard, juxtaposed against the capability of local manufacturing and sourcing of materials.
In order to overcome this, JHP undertook an extensive briefing process with the local implementation team and researched endless alternatives and sourcing outlets for key materials and finishes.
Our highlight would probably be the success of JHP's work with Amouage. The new retail offer, factory and visitor centre is the showpiece the Amouage’s growing retail presence.
It has greatly contributed to the brand’s growing reputation as one of the world’s most highly respected perfume houses.
It has also lead to the greater contribution to visitors’ understanding of the various stages of perfume manufacturing, from ingredient maceration to bottling and packaging as well as explaining the perfume extraction process.
According to Amouage’s CEO Mr. David Crickmore, the new retail and factory facility created by JHP has given Amouage the capacity to produce and sell its products at its current location for at least the next ten years.
The new Amouage factory and visitor centre has firmly established itself as a true retail destination and ‘must visit’ attraction for all visitors to Muscat.
Our work for LOTTERIA has received huge publicity across numerous retail publications in Europe, America and Asia and was very well received on social media. We are very proud of what the team has achieved and of the project’s results. The SBID International Design Awards are very prestigious and we’d be honoured to have our work appreciated and shared by such a great organisation.
Questions answered by Raj Wilkinson, Creative Director & Joint Managing Director at JHP Design
If you missed last week's Project of the Week with Penelope Allen Designs Click Here
JHP Design | SBID International Design Awards 2017
This week's installment of the #SBIDinspire series features AB Concept, 2016 finalist from the Restaurant category in the SBID Awards. AB Concept are behind the striking Dynasty Restaurant project located in Hong Kong. Inspired by the traditional Xiguan Mansions of Guangzhou in China, Dynasty Restaurant, meaning ‘Full of Happiness’, preserves the quintessential elements of the architecture and style of this heritage. SBID had the opportunity to speak with Ed Ng and Terence Ngan, Founders of AB Concept.
Company: AB Concept
Project: Dynasty Restaurant
Project Location: Hong Kong, Hong Kong
The clients were looking for a renovation of the iconic restaurant to enrich the space by telling a story from Chinese culture. Once we were able to pinpoint the direction we were headed towards in terms of overall design and architecturally, everything else flowed organically.
The project was inspired by traditional Xiguan mansions of Guangzhou, China. Dynasty Restaurant, meaning “Full of Happiness” in Mandarin, preserves the quintessential elements of the architecture and style of this heritage.
The challenge was retaining the history and core spirit of the established restaurant, whilst at the same time bringing a fresh and modern ambience to the space. Without forgetting that the roots of the restaurant lie in its exceptional Cantonese cuisine, the concept of the Xiguan Mansion ties back to this history and heritage - this is expressed through the bamboo artwork that mimics the Lingnan landscape painting, grey bricks and motifs reminiscent of the era, exquisite window shapes, and each PDR named after the indigenous districts of the region.
Our highlight was the feature artwork made out of bamboo pieces, which is an ode to a traditional Lingnan landscape painting and prominently display as the graceful focal point of the main dining area. Divided into two parts measuring 6x6 metres on one side and 6x10 metres on the other, the artwork is comprised of 13,600 pieces of bamboo and delicately layered over gold-leaf paper. The artwork was a customised piece and the largest bamboo painting display in Hong Kong.
It was really a no brainer to submit our project, as the award is internationally recognised by all in the industry. It is a great platform to participate in, not only to share our recently completed projects, but to also engage with designers all over the world, finding inspirations and seeing what everyone else is doing in their practices.
Questions answered by Ed Ng and Terence Ngan, Founders of AB Concept
If you missed last week's Project of the Week with Atelier PRO Architekten Click Here
AB Concept | SBID International Design Awards 2016
We’ve been working with some of the most skilled and innovative British designers since our beginnings in the 1960s, and sustainable design is definitely one of the major emerging trends over the last few seasons.
Corian achieved zero landfill status back in 2012 by reusing and recycling waste during the manufacturing process. By using scraps and sanding from making solid surface sheets, as well as responsibly reusing packaging and manufacturing materials, makers DuPont have managed to futureproof their own business as well as the installations that are created from Corian.
But sustainable design runs deeper than the manufacturing process, and each week it seems we’re inundated with astounding examples of design for the home that prove that sustainable design is accessible to everyone and really worth investing in. Here are just some of our favourite examples.
Cena Collection by Jamie Mansfield As part of his studies at Nottingham Trent University, Jamie has carried out research into thelack of utensils in modern kitchens and discovered that customers often find them ugly and out of place in a stylish kitchen setting. Jamie decided that using the waste from new Corian kitchens would be the ideal way to create something bespoke and stylish for homeowners that will complement their new design as well as save scrap material from landfill. The result was the Cena collection a classic utensil set for the modern home.
This innovative reuse of scrap materials is a sustainable solution due to the longevity and durable nature of Corian too. Its nonporous qualities prevent stains from penetrating the material, making them easy to clean and completely hygienic.
Pixel Credenza by Jay Watson
Oxfordshire based designer Jay Watson asked local fabricators and kitchen studios for out-of-date Corian samples to create this abstract pixellated unit. Using sustainably sourced birch plywood for the frame, the unit comprises three drawers with a cupboard either side. Touch opening mechanisms complete the sleek look and feel. Watson says he chose Corian due to its durability and easytocare for properties. As well as a unique and artistic addition to the home, the credenza is practical too as users can place items on the tabletop without marking or water damaging the surface. Any scratches can be easily sanded or buffed out, making this piece of furniture easy to repair and able to stand the test of time.
ORIGIN light pendant by Gregg Parsell Another graduate of Nottingham Trent, Gregg Parsell has used the translucent properties of partially recycled Corian to create these beautiful spiral light pendants. By combining American Black walnut with Glacier White Corian, Parsell achieves a dramatic contrast. Routed lines within the spiral, reveal an illuminated pattern with the overall piece inspired by seed pods.
The wood and Corian parts are removable and at the end of the pendant’s life can be recycled separately to further minimise its impact on the environment, meaning consumers with a conscience can still get their fix of style. With designs such as these breaking into the British market, homeowners are provided with sustainable solutions to everyday home design issues.
Cutting down on resources, reusing and recycling helps keep costs down but also safeguards the future of design for the home, making it much more than a passing trend.
Written by Gary Baker. Gary is the MD of CD (UK) Ltd, the exclusive distributors of Corian in the UK. For more solid surface design ideas and inspiration, you can read Gary’s blog on cdukltd.co.uk.
The rapid and relentless advancement of technology means that the younger generation are increasingly exposed to a wider and more varied source of information. This has a knock-on effect on the evolution of educational techniques, and, in turn, in educational environments. New thinking now places an ever-growing emphasis on the importance of learning spaces, in addition to curriculum, class size and location.
We were lucky enough to speak to Peter Cunningham, the Design Manager of commercial interior design and manufacturers Innova Design Solutions, about the changing face of our children’s classrooms.
In the first segment of this two-part interview, Peter shed some light on how educational interior design has already been evolving, what we can expect in the future, and some role models for the UK to aspire to, among other topics.
Over the last decade, the way in which our children are being taught has been developing and adapting to the growing influence of technology on education. “Visual and interactive learning spaces are becoming central to teaching with the introduction of smart boards, touch screens and green screen technology. Smart phones and tablets are becoming increasingly used as resourceful tools in lessons,” says Peter.
And this advancement in the influence of technology heralds a change in the teaching spaces themselves. “With the introduction of new technologies, the design of classrooms needs to be optimised to accommodate new technologies, allow seamless cable management, provide secure storage spaces and ensure sufficient power sockets where necessary.”
Technological advancements are not the only steps forward that teaching has taken. Traditionally, students were encouraged to work alone which often stifled some students’ potential, whilst also neglecting the social side of learning. Peter highlights the importance of developing all aspects of a child’s education:
“Group working and live projects is fast becoming an effective method of teaching where students can interact and work together to solve problems or work on a task. Providing learning spaces outside of the classroom is just as important to a student's academic development as the traditional classroom setting. From break-out spaces with modular seating to creative use of corridors, cyber cafes and multi-functional libraries; creating spaces which allow collaborative working will enable schools to foster a culture of teamwork.”
This is reflected in the changes in classroom seating plans over the last decade. “In the industrial era, schools developed as highly controlled environments that reflected the common workplace, in which it was necessary to have discipline.”
But while such plans may have served to keep students in order, new thinking suggests it may have stunted their development in other ways, argues Peter. “Traditional classroom set-ups with rows of students all facing the teacher does not promote creativity or collaboration. Now, classrooms must adapt to suit the information age, reflected through more diverse forms of learning with flexible layouts to suite a variety of teaching styles.”
According to Peter, there are a multitude of other countries who have already implemented innovative educational interior design ideas which can serve as a role model for the UK. “Counties leading the way in educational interiors include Sweden, Netherlands and Germany. All are forward thinking and innovative in their approach to facilitate learning in the classroom.”
As with many aspects of society, Scandinavian countries lead the way in pioneering ideas. Peter singled out one particular Swedish classroom designed by the architects at Rosan Bosch, which pushed the boundaries of educational interior design. “Two years ago a Swedish architectural practise implemented the very first classroom-less school, creating loosely designed spaces as opposed to fixed classroom bases. The breakdown of physical barriers such as walls and desks has created a free space which allows students to come together to collaborate, imagine and learn.”
A 2012 study by U.K. design firm IBI Nightingale & the University of Salford found that the confluence of classroom design features, such as room orientation, HVAC, acoustics, and furniture, can enhance or set back a student’s academic progress by up to 25 percent during the course of a year.
Peter champions the importance of internal environments in the classroom, and, indeed, has helped to pioneer a new successful classroom model.
“We have recently completed a new build development, which focused on providing inspirational interiors which work for both staff and students. Since the work has been completed, the school has seen phenomenal results, including a 30% increase in pupil numbers despite falling rolls in the district, 2012 record whole school results, 2013 best ever Science results, 2013 best ever Art results, 2013 outdoor concert for audience of 200 and community use 7 days a week.”
However, Peter realises that implementing such designs, as desirable as they might be, will always be difficult in the current economic climate. “The bottom line will be the resources available for school design and more often than not, the budget and availability of space will take precedence.”
Indeed, such a shortcoming in the education budget has led to the government's recent restrictions on school building designs, including a ban on curved and glass walls. However, many architects are using the revealing 2012 study to try and fight the ban. Whilst Peter recognises the constraints that the government operates under, he is keen to stress the dangers of neglecting the educational environment.
“This study is proof that classroom design matters and yet in a lot of projects we see, classroom interiors tend to be the last areas considered, and specifications are often determined by the amount of money that is left in the pot, rather than something that is budgeted for.
“Classroom design, therefore, needs to be at the forefront of school building design as it’s the interiors which make a difference to learners and educators.”
A concerted effort to improve the classroom environment has clearly been proved to improve the performance of students. In this segment, Peter laid out the basic changes that have taken and will take place over the coming years, as well as pointing out some early role models and highlighting the challenges posed by budget and space availability.
In the next segment , Peter gets into more specifics about the importance of the appropriate furnishings in the classroom, including furniture, technology and student input, as well as more general contributing factors, like colour schemes and security.
As an enthusiastic design fan, lover of interiors and writer, Rob contributes to a smorgasbord of varying website blogs on a number of subjects. Rob is a proud father and husband of an ICT specialist, which drives his interest in educational architecture.
Image Sources:
• Swedish Classroom # 1: http://i.bnet.com/blogs/telefonplan-school-jan20121.jpg • Swedish Classroom # 1: http://i.bnet.com/blogs/telefonplan4-school-jan20126.jpg
But art deco has French origins: its name derives from the 1925 Paris Exposition Internationale des Arts Décoratifs et Industriels Modernes; the shortened name came into widespread use when an English historian, Bevis Hillier, used it in 1968 for one of the first books on the subject, titled Art Deco of the 20s and 30s.
Characterised by its use of luxurious materials, superb craftsmanship and simple shapes, art deco was born out of the rapid industrialisation of the interwar period. It celebrated the age of the machine and was assertively modern, replacing the curving organic shapes of art nouveau which preceded it.
“The new style followed the war when France needed to relaunch herself. People . . . wanted something new and modern,” says Caroline Loizel, press officer for the exhibition 1925, when Art Deco dazzled the World, which is being held at the Cité de L’Architecture et du Patrimoine in Paris until March 3.
In the decade leading up to the first world war, life for many in Paris was good. The elegant department store Galeries Lafayette opened a new branch on Boulevard Haussmann, selling fashion to the middle classes, Louis Blériot flew across the English Channel, French cinema was booming, and the first radio mast was fixed to the top of the Eiffel Tower.
Then war broke out. Although Parisians tried to carry on with the good life, the conflict had a devastating effect owing to the number of lives lost, the impact of rationing and a devastating flu epidemic in 1916.
By 1925 the city was ready to re-establish itself.
The Paris exhibition was designed to show the world that the city was the most fashionable, luxurious and tasteful city of all.
According to the notes from a 2003 exhibition, Art Deco: 1910-1939, hosted by the Victoria and Albert Museum in London: “With over 16 million visitors . . . Paris itself was put on show as the most fashionable of cities. The [1925] exhibition had an immediate and worldwide impact.”
After the 1925 event, French architects, designers and artists were invited to demonstrate their work all over the world.
Fabrice Bana, a London-based interior designer and art deco aficionado, says of the style: “It is elegant, glamorous, functional and modern. The materials used, including shagreen, Makassar [ebony], ivory and mother of pearl, were lavish, in part a reaction to the austerity of the war. But despite their opulence and craftsmanship, the pieces were designed to be used; I’ve sat on a 1928 Jean-Michel Frank shagreen (stingray skin) and oak armchair which was supremely comfortable, ergonomically designed and timelessly elegant,” says Bana.
While the number of art deco buildings is relatively low in the centre of Paris – there was no great need for housing thanks to Haussmann’s building spree, nor had the city been badly bombed – industrialisation meant that factories and facilities for the city’s workers were required. “Renault had its factories in Boulogne-Billancourt, which is a [nearby] suburb of Paris. In addition to the factories, they had to build homes for the engineers and workers. The whole area is very art deco and is now very sought after,” says Loizel.
François Blanc, founder of Communic’Art, lives in an art deco building on Boulevard Raspail in the 14th arrondissement. “Haussmannisation means that while Paris is very beautiful, many of the buildings are very similar,” he says. “I had always walked past this [art deco] building and wondered what it was like inside and when one became available, I jumped at the chance. The high ceiling was a real selling point as it meant it could be converted into a split-level mezzanine and still have light from the tall windows.”
In addition to the high-end materials associated with the period, mass production meant that there was more glass, chrome and mirror used in the home too.
By the 1930s, after Tutankhamun’s tomb had been discovered, Egyptian motifs began to appear, joining other African imagery which was growing in popularity as international travel became more widespread.
One of the most recognisable art deco immeubles is the Walter building in the 16th arrondissement, which was designed in the 1930s by Jean Walter. A three-bedroom apartment in the building is currently on the market for more than £3m.
Pierre Yovanovitch, an interior designer greatly influenced by art deco, knows the building well. “The rooms are large and the apartments tend to be much bigger than other Parisian buildings,” he says. “The ceilings are much higher than Haussmann and the windows are very big too with steel frames.”
Yovanovitch has renovated an apartment in an art deco building in Quai Anatole (in the 7th arrondissement) which he recently sold “for a lot of money”. “Art deco works very well in the 21st century because of the clean, simple lines,” he says.
Jean-Louis Deniot, an interior designer who has renovated buildings and who also designs furniture, says: “It’s very easy to reproduce or manufacture art deco style because of the straight lines. One problem with the Parisian pieces is that they were made for smaller spaces than you find, for example, in the US, so they can get lost in a large room. But while the furniture is smaller, the proportions of the rooms are larger.”
Parquet floors were often inlaid with intricate geometric designs and the plasterwork also featured linear patterns.
According to Bana, it was also a style that was built to last. “Great craftsmanship with superb materials will age gracefully hence the astronomical prices these objects reach at auctions which rival those of the art markets these days.”
Indeed, on March 11 and 12 Sotheby’s Paris is holding an auction of some 300 pieces belonging to the art dealer, collector and art deco pioneer Félix Marcilhac. One of the star lots is a Commode à l’Anglaise, which is black with an abstract orange and yellow pattern, expected to fetch up between €3,000 and €4,000.
By the 1940s the popularity of art deco had waned. Its decorative style seemed out of place in a politically unstable Europe, not to mention the aftermath of the Great Depression. Art deco was replaced by modernism, a style based around simple materials that rejected the idea of lavish ornamentation. Despite this, the impact of art deco continues to be felt today.
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