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Oxfordshire based designer Jay Watson asked local fabricators and kitchen studios for out-of-date Corian samples to create this abstract pixellated unit.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.
Today’s post is dedicated to the second installment about the recently opened The Wellesley hotel in Mayfair.
A lot has happened since Part 1 when A-Gent of Style reviewed the ground floor public areas of the already prestigious hotel.
But first and foremost, congratulations are in order: The Wellesley and award-winning Interior Design company Fox Linton Associates have been shortlisted for three awards at the 2013 European Hotel Design Awards; The Jazz Lounge and Oval Restaurant, The Crystal Bar and also The Suites are now in competition.
What an impressive achievement. Highly deserved.
A-Gent of Style was granted access to all floors of this 5-star ‘new kid on the block’ (The Wellesley itself confirmed it is not a 6-star hotel despite the media hype before its opening) and is taking you today on a private tour of the guest rooms.
Above the public areas of the ground floor, The Wellesley is graced with 36 guest bedrooms spreading over seven floors, the last two culminating in the signature Wellesley Penthouse offering a private terrace with stunning views of Hyde Park.
Every room offers 24-hour-butler-service and is individually finished with sumptuous décor and amenities, equipped with the latest state-of-the art technology ( electric curtains, 52″ flat screen TVs, in-room laptops, Samsung control tablets and complimentary Wi-Fi), all cleverly integrated in the bespoke elements.
The rooms are sheathed in a palette of cream, ivory and off-white – mostly faux leather panels on the walls, luxurious wall-to-wall carpets and beautifully drapes of pleated fabric on the windows – with different accent colours (gold or burgundy in the Deluxe rooms), and some of the bespoke joinery designed by Fox Linton Associates is made of Art Deco-favoured ebony Macassar in a high gloss, veneer-finish. There are hints of brass and bronze in the custom-made lamps by Dernier & Hamlyn (who also created the chandeliers on the ground floor) and also the ribbed lever handles by Joseph Giles (but polished nickel on the bathroom side). The stepped, coffered ceilings provide soft and flattering glow that complement the colour schemes. Elegant black and white framed photographs from Vogue and Vanity Fair archives, probably shot by Blumenfeld, are scattered around the rooms (and the corridors). The headboards are upholstered in leather and the deluxe king-size beds are enveloped in customised luxurious bedding. A perfect night, no doubt, to be had in the arms of Morpheus.
The Penthouse floors comprise the Churchill Suite, Wellesley I, Wellesley II and Penthouse Suite which are the jewels in the crown of The Wellesley. The latter is situated over the top two floors which are linked by a private leather-panelled staircase. This suite can boast its own private terrace, boardroom and personal humidor. All the rooms are interconnected and give a great sense of rhythm, fluidity, privacy and exclusivity.
Here, the rooms are wrapped in a palette of champagne and pearl, the accent colours on the sensuous mohairs and velvets are rich, saturated midnight blues and browns, and there are hints of silver and gold to express the glitzy “Roaring Twenties”/Hollywood feel.
A-Gent of Style found the stepped, travertine Art Deco fireplace simply sublime.
A humidor and a wine cabinet, both in high gloss Macassar, are flanked on both sides of the dining table.
All the bathrooms at The Wellesley are equally stunning: the focal point is unquestionably the beautiful, deeply veined Italian Carrara Arabescato marble on the floor and on the walls which give the rooms great character, substance and grandeur. The shiny mirrored, silver-polished vanity units and shelves add a sense of elegance. Top-end bathroom fixtures and accessories by Dornbracht and Villeroy & Boch finish off the décor superbly well.
So, whatever takes your fancy – a top-notch cigar, Cognac, cocktail, intimate meal, celebratory Afternoon Tea or romantic stay in a suite (A-Gent of Style will happily settle for all of them. At the same time) – The Wellesley is the latest ultimate hideaway in London to ‘Chanel’ your inner Agatha Christie in stylish and tasteful surroundings.
A-Gent wishes Fox Linton Associates and The Wellesley good luck on November, 19 at the EHDA awards ceremony.
Situated opposite Hyde Park at Number 11 Knightsbridge where the famous jazz club Pizza on the Park used to be (oh the memories!) and tucked away between the equally opulent ‘grande dame’ hotels The Lanesborough and The Berkeley, the 1920s townhouse is the new contender amongst London’s luxury hotels.
Now owned by Arab Investments Ltd, the hotel was named after Sir Arthur Wellesley, the first Duke of Wellington, a fine military leader who served as the Prime Minister of Great Britain twice between 1828 and 1834, and later as leader of the House of Lords
The beautifully restored and lavishly refurbished hotel is the result of the award-winning Fox Linton Associates who transformed and crafted the interiors of the 36 suites and bedrooms residence with a modern Art Deco feel and sumptuous finishes.
The six-floor hotel is comparatively smaller compared to the more imposing aforementioned hotels but still offers its residents traditional glamour, contemporary luxury and an uncompromising service. Where else do you get a complimentary 24-hour butler service and the courtesy of a Rolls-Royce drop off service within a 1.5mile radius!
The existing, historical aspects of the current building – above the infrastructure of the Piccadilly Line of the London Underground - were preserved. The orignal facade decorated with stone and faience was retained but a new one was added and constructed this time with brickwork and slate.
A-Gent of Style was given special access to the hotel especially the suites and penthouses but this first part will focus on the ground floor and its common areas.
As soon as you step in past the heavy bronze entrance doors, you know that you are dealing with opulence and excellence. A long, colonnaded, vaulted corridor bedecked in marble welcomes you and invite you to discover the interconnected rooms on either side. Everything here has been custom-made and the craftmanship and attention to detail are second to none: the glitzy crystal ceiling lights, the bespoke art work on the walls, the big stud-patterned desks with leather, marble and metals, and the etched, mirrored arcades above the walls.
But what is special about The Wellesley is that the common areas are relatively small and it hasn’t got the overwhelming grandeur some of its counterparts have. It is very much in a class of its own. For instance, there isn’t an imposing lobby and reception area as such with squads of staff milling about with suitcases or trays. It is contradictorily quite simple yet luxurious and feels very intimate and serene.
The first room on your right is the Crystal Bar which showcases a wall of the finest whiskies, armagnacs and cognacs where you can sip languorously at the wondrous 1920s-like, lit-up, glass and marble bar from the midnight-blue faux-crocodile stools. The floor is covered in Moonlight Grey and Noir St Laurent marble
The Wellesley attracts tobacco enthusiasts as it has one of the largest bespoke humidor in the UK.
On the left, you will find the dark and moody Humidor Lounge opposite the bar which proved to be the perfect spot for us to have an apéritif the evening I visited. The look of these two rooms is very masculine, sultry and moody a bit like Claridge’s The Fumoir and has the feel of a Gentlemen’s Club. Here the deep-buttoned, Chesterfield black leather sofas and chairs complement well the imposing painting of Winston Churchill and the modern sculptural lights (or is it light sculptures?). The imposing circular blue glass chandelier is undeniably the pièce de résistance. The light fittings in the public areas were made by Dernier & Hamlyn.
There are two outdoor, covered Cigar Terraces (with rugs and art on the walls!) which provide an intimate yet spacious environment to indulge in a fine cigar. The furniture is made of teak and the upholstered in dark blue leather.
Then, on the left-hand side at the end of the corridor, guests will find The Jazz Lounge where they can enjoy a selection of high teas while listening to daytime jazz or settle back with a cocktail during the evening in an intimate, Gatsby style and atmosphere. I liked the palette of soft pinks on the chairs (leather on the seats but silk on the back; great detail) and particularly the bronze screen – I do love a screen – adorned with festoon-shaped pearl strings, mixed with the deep blue on the Gunta Stölz-esque, square-patterned carpet.
Pic. Ivory faux ostrich wall panelling
The Oval Restaurant, on the right, is an intimate hideaway which can seat up to 28 customers offering refined Italian cuisine. Once again, the room is smoothly enveloped in sugar-almond pinks found on the hand-crafted mahogany chairs upholstered with leather on the front and horsehair on the back and deep-buttoned banquettes and is replete with glamourous references to Art Deco from the sunburst-shaped, 2-toned glossy marble on the floor to the cream, fan-shaped leather panels on the walls with brass detailing, the glitzy chandelier on the circular, coffered ceiling and the concertinaed mirrored wall that reminded me of the iconic staircase at the Paris Chanel store, Rue Cambon.
Stay tuned for Part 2 where A-Gent of Style will be taking you on a private tour of the suites and penthouses…
For many interior designers, life at home and life at work are one and the same. Some spend long hours at an office, while others blur the lines between their job and life by working from home. Dedication as an entrepreneur is essential, but at a certain point, everyone needs to find a way to feel like more than just his or her professional title. Here are five tips to help you develop a balance between work and life in the realm of interior design.
1. Understand Your Limits. From designing to client relationship management and keeping up with small-business trends, interior designers may easily find themselves working long hours each day and into the night. Small-business owners and freelancers often throw themselves into their work, thinking that the success of an enterprise depends entirely upon them.
Working long hours when a deadline is approaching is logical, but consistently pulling 12-hour shifts for months on end will likely result in burnout. As any interior designer knows, it’s difficult to be creative and produce high-quality work when feeling like you’re at the end of your rope. Rather than overdoing it, Forbes recommends protecting your private time, such as when taking walks, driving to meet clients, or even grabbing a quick bite to eat in between searching for design materials.
Even with designated time to take a mental break, long days can still be exhausting. If you find yourself getting toward your maximum work abilities, remember that it’s okay to say no. There’s no rule that says you need to take on every design opportunity that comes your way, at least not right away. Tell a client you’d be happy to take on a project—starting next week.
2. Create a Schedule. Many people envy interior designers who work from home; they can set their own hours, dress how they please, and are free of the burden of a morning commute. However, there are some downfalls to operating from home. As opposed to onsite staffers, who leave an office and can immediately mentally detach themselves from work, self-employed or home-based interior designers live where they work.
That’s why it’s particularly important to set a work schedule while at home. Whether a designer prefers to wake up early and begin working or meeting clients at their homes for consultations by 8 a.m. or would prefer to sleep in later and take more evening appointments, the important thing is to establish a steady schedule, and adhere to it.
Use time-management techniques and schedule time specifically for searching for fabrics and other materials, schedule another allotment for returning client emails, and set an end time to your workday. Then stick to it. That might mean calling it quits while in the middle of a search for the perfect light fixture for a home, or emailing a client that you’ll get back to them with a full update the next morning.
It may be difficult to step away at the end of the day, but soon this will become a habit that will keep you healthier, happier, and more balanced.
3. Designate Space. Creating a home office that is conducive to productivity can make a huge difference in attempting to strike a home and life balance. A small spare room is perfect for an office where an interior designer can spend their time and even meet with clients; then once they’ve completed their work, they can shut the door to their office, marking the end of a workday. A home office is another great place to show off your eye for style, and clients who meet you at your office will be able to see how effective design can be when you’re in charge. Check out Janelle McCulloch’s Library of Design blog for design insights and home-office tips.
Some find it too difficult to fully separate home and work life when designing in their living room or even a spare office. For those designers, shared workspaces are a great option. Shared workspaces are designed for freelance and independent workers; interior designers can rent out a desk in a communal space where others will also be working. You can reserve a desk for a day, week, or even months, and you will be able to keep your physical home separate from work.
4. Get Organized. You’re a creative, dynamic interior designer managing a small business, and… your workspace is a mess. You have fabric samples in stacks on your desk, binders full of design ideas on top of a spare chair, and notes stuck to your computer monitor reminding yourself to call to vendors. One of the easiest ways to free up time for a healthy home life is to keep work documents, files, and contacts neat and orderly. Use binders to store contracts, keep the surface of your desk tidy, and clean up your hard drive.
Take an afternoon to look through your desktop and sort everything out. Designate folders for projects by client name, and label important emails so you never have to spend precious time searching through disorganized files again. If you don’t use this method already, try setting reminders for yourself using an online calendar that you can access from your office or on your phone. It’s amazing how many hours a bit of organization will free up, leaving time for family and friends.
5. Develop New Passions. Working as a freelance interior designer or running a small firm requires passion and dedication, which is why it’s no surprise that it’s hard for many designers to think of anything else. However, to find a balance between life and work, it’s important to consider life outside the world of design.
Think about something you’ve always wanted to try, or a hobby you used to have when you were a kid. Now get out of the house and do it. Take a painting class, go for a run, or become a member at a museum and keep up with new exhibits. Not only will these activities help you feel balanced and relaxed, they’ll also clear your head. When you return to your desk the next day, you’ll feel refreshed and ready to take on a new day of design.
How do you balance work and home life? What do you do to make sure you step away from your desk at the end of the day? Let us know in the comments below.
Author Anne Bouleanu, Line//Shape//Space
It’s slightly unnerving to see familiar, everyday objects such as furniture and chairs in a museum or art gallery setting. I was reminded of this when I strolled around the Pop Art Design show at the Barbican.
But it also gives a sense of familiarity that I can spot items that wouldn’t be out of place in a Heal’s shop window or indeed any high-end furniture retailer. It’s also important to know where the original ideas and designs came from, as it gives a sense of history, continuity and respect for early designs.
Pop art exploded onto the scene in the late 1950s to early 10970s and it’s hard to imagine now the impact it had on the art and design world. Previously, much of what you found in the home was pretty drab, conservative and a grown-up’s idea of what good interior design should be.
The new movement of Pop didn’t give a damn. It was bright, fun and playful. The protagonists including Achille Castiglioni, Charles and Ray Eames and George Nelson threw caution to the wind, using the primary colours of childhood – bright reds, yellows and blue colour palettes.
Just looking at George Nelson’s Marshmallow sofa from 1956 () is so pleasing to the eye, with its vivid custard yellow and classic black colour scheme – and you just want to sit on it – which is surely the prime function of any sofa.
Pic 2. Evelyne Axelle, Ice Cream 1, 1964
The delightful image by Evelyne Axell, a Belgian Pop painter, takes us back to halcyon days when the highest form of pleasure was slurping on an ice cream – and not to imbue it with Freudian overtones. Sometimes licking an ice lolly is just that.
This is when we see the beginnings of the cult of celebrity and commodity fetishism. We also see the rise of sexual politics in furniture and design. Allen Jones’ Chair, 1969, of a woman in high heels, which you sit on, is probably the least offensive of his series of ‘furniture sculpture’. Personally, I want to take a hatchet to it, partly because it is demeaning and objectifies the female form, but also because it’s downright ugly.
The baton for the best ideas in Pop art has been passed on to new designers and artists, such as Kate Jenkins, who crochets a range of Pop art items including ketchup and mustard bottles as well as coke cans. It’s good to see that the influence of Pop art remains alive and thriving today.
What I do like about Pop is its play on words, the questioning of what makes for good interior design, as in Richard Hamilton’s 1956 collage Just what is it that makes today’s homes so different, so appealing? It blows the lid off the seriousness and lack of humour that was all the rage in the design world previously.
Author Fiona Keating, Editor at Inside Property
Following the success of last year’s Design Your Bin challenge, Brabantia has launched its ‘Pimp Our Print’ competition which is open to budding designers across the globe regardless of age, experience or location.
Those entering the Pimp Our Print competition can really let their imagination’s run wild. The panel will be giving full consideration to entries of all graphic styles from street and modern art though to photography, illustration, textiles and traditional forms. I anticipate some heated discussions during the judging process!
And there will certainly be plenty to discuss as to date there are already 750 entries with more arriving daily. These are displayed in the Gallery which is updated as the entries come in and members of the public can peruse the designs and also vote for their favourites. The International Design Panel, (SBID President Vanessa Braday is one of the 10 international acclaimed judjes) will be creating a shortlist from which the overall winner will be chosen. Their print and name will appear on a range of Brabantia canisters, and potentially a whole product range including Bread Bins, Touch Bins and Pedal Bins.
What a fantastic chance for a designer to launch their ideas to the world. It’s a big responsibility for all of us to shortlist only the best designs. I can’t wait to get started. The winner will also receive a three day trip for two with tickets to Salone Internazionale del Mobile 2014 in Milan, luxury hotel accommodation, transport and spending money for this trip of a lifetime (11-13 April 2014). But the public get a chance to have their say too in the "People’s Choice" category which runs separately from the main competition.
Check out the ‘Pimp our Print’ website for details of how to vote. So it’s going to be an exciting few weeks - last entries need to be in by 22nd October. Keep an eye out for what the SBID decides! Enter today: www.brabantia.com/design
Although modern interior design probably conjures up images of fancy homes in glossy magazines along with some high-class designer websites such as Lampcommerce.com, when studying the history of interior design, it becomes apparent that perhaps there is more than meets the eye. Here is a quick guide to interior design through the ages, starting from the very beginning.
The beginning
The earliest evidence dates back to when early prehistoric humans first started to settle and either found or built up stable communities using elemental tools. Although the focus back then was function and necessity, the fact that these cave men used to decorate their dwellings with basic drawings could lead us to believe that interior design and looking after our homes is actually a primal instinct as well as a sign of our intelligence. Tribes to this day still use natural materials such as wood, mud and animal skins to fashion themselves a comfortable and functional home.
Egyptians, Greeks and Romans
Egyptians were known for their ornate murals which acted at beautiful documents that detailed their beliefs, history and way of life. Life was a mix of stark parallels for the Ancient Egyptians. While many workers lived in primitive houses, the magnificent buildings they are best known for were usually for one ruler or a royal family to signify their wealth and to please their gods. This early civilisation set the trend for superb, ornate interior design in the name of religion which is still plays a big part in society today.
After Ancient Egypt fell to the Romans and Greeks, cities were drastically changed due to the Greek and Roman tastes in architectural style. Democracy and a more civilised way of life allowed normal citizens to show their personal tastes through interior design. The Greeks in particular employed strict rules for constructing their massive, pillared buildings and often used beautiful vases and paintings in their homes.
Design progression in Europe
After these influential periods in history, other distinctive design styles emerged in Europe, particularly Gothic architecture alongside the indulgent beauty seen during the Italian Renaissance. Again, the focus for many large scale buildings was based around religion with carvings, tapestries and murals which stretched over entire ceilings and walls. Beauty and function were equally important.
18th and 19th centuries
From Baroque’s artistic exaggeration to the industrial revolution to Art Deco and Art Nouveau, interior design opened up to the common man, as fashion magazines and prints hit the shelves during the industrial revolution. Interior design was influenced by a mixture of styles from around the world as travel became more accessible. This eventually led to the age of eclecticism which drew these styles together to create personality and character.
20th and 21st century
Modernism and post-modernism soon followed. Designers became famous faces rather than behind the scenes workers. As countries recovered from war, there was a return to prosperity and a large influx in suburban sprawls. More people started to indulge in interior design as a form of escapism and personal interest. Makeover shows such as Changing Rooms also started to influence our homes and old, vintage styles were starting to be revived.
Today, it can be fair to say that we are still in an eclecticism era, as old vintage continues to be teamed with modern features. After thousands of years of groundwork, people can now play and experiment with a whole host of styles to create their perfect homes. Rather than uniformity, interior design is now fast paced with seasonal trends and forecasts for the coming year.
Written by SBID guest blogger Mike Lesse
Can you imagine just five years ago , the human race embracing technology in such a dynamic and dramatic way , Smartphones have become a way of life, young and old now have the world wide web at their fingertips and digital cameras at the ready!
Along with tablets (mobile computers) communication with loved ones and friends is now a breeze with the help of apps such as Face time , Skype , etc.
YouTube for me is for sure the future if you haven’t got a YouTube TV channel make sure its high on your list of priorities before the year is out , YouTube is the world’s second biggest search engine and the biggest growing video sharing website in the world at the moment and since it was purchased by Google, this popularity is showing no signs of stopping. Video is an important feature of maintaining a web presence, and is a highly effective marketing tool.
YouTube receives somewhere in the region of 3 billion searches a month. Some of the people making these searches will be potential clients of yours, and it is important not to miss out on this market. As with any other aspect of SEO, your use of keywords is vital. Make sure your video title features your strongest keyword, and that it is relevant to the content.
I realised the phenomenon of video back in 2011. A couple of years earlier in 2007 I was introduced into the sport of kite surfing after falling in love with the sport on a trip to Rhosneigr in Anglesey Wales, I followed the sport closely through the power of video and soon became familiar with the professional athletes and brands associated with them.
A couple more years passed and I finally found the time to go and learn to kite surf , all my research and brand awareness was found through the internet, It got me thinking the power of video is such an amazing tool I could use this in my own industry and so I did! I employed a fantastic company Shutterbox Films to come and film and produce a short movie in my showroom owners Lee and Dawn are so cool their portfolio of work is immense , they did a fantastic job for me.
Fast forwarding to 2013 I now employ a small in-house team to look after my websites, blog, social media, publications and now new YouTube TV channel we have now produced our own videos showcasing client case studies, bringing to life photographs potential clients can now actually get a feel of your portfolio along with your beautiful photographs of your work.
We have plenty more case studies lined up for later this year together with a launch of a brand new resource publication dedicated to Architects , Designers and Interior Designers this will include augmented reality driven by Aurasma bringing video to printed media our next edition of Revealed Design Home Interiors is due out too later this year.
Obviously it’s not quite so easy to just make a video and pop it on YouTube or another video sharing site like Vimeo , you have to promote it to get views social media comes in perfectly and with the help of your clients , followers and peers you can soon spread the word.
Written by SBID Member and Interior Designer Lisa Melvin
Check out Lisa Melvin's YouTube TV channel at http://www.youtube.com/user/LisamelvindesignTV?feature=watch
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