An impressive 34,060 visitors from 73 countries descend upon the heart and home of London’s design destination in Clerkenwell for arguably the most important commercial design festival that the capital city has to offer. The ninth edition of Clerkenwell Design Week (CDW), sponsored by Armourcoat Acoustic, delivered huge benefit to London’s creative hub with over 65,757 new business leads generated during the three-day festival – a 14% increase on 2017. With more than 200 brands exhibiting across the 7 venues and 100 showrooms, CDW injected life to the area from 22 -24 May and further cemented the festival as a key event on the international design calendar. We’re sharing a few of our favourite festival finds, initiatives, or new designs which emerged at Clerkenwell, starting with the most must-see installations.
The design industry at large is increasingly acknowledging the global sustainability crisis, so it comes as no surprise that sustainability initiatives became another hot topic at Clerkenwell Design Week as the pursuit of sustainable solutions becomes the focal point for many.
Chelsea College of Art is no exception; conversely to the nationwide mission to combat the plastic pandemic which has been headlining the news since the government introduced a law for large retailers to charge for all single-use plastic carrier bags, the Your Tote Counts campaign instead attempted to address the overwhelming surplus of tote bags which are intended to replace the excessive and unsustainable use of plastic bags. Interestingly, and surprisingly, canvas bags may cause more detriment to the environment than the plastic ones they are designed to replace. In 2008, the UK Environment Agency (UKEA) published a study of resource expenditures for various bags: paper, plastic, canvas, and recycled-polypropylene tote bags whereby cotton tote bags exhibited the highest and most severe global-warming potential since they require more resources to produce and distribute. The study revealed that the ecological footprint of a cotton tote bag is actually 327 times worse than a regular plastic bag. A Screen Press installation at CDW encouraged the upcycling of tote bags and allowed visitors to bring unwanted totes to be customised with designs created by graphic design students from Chelsea College of Art, in collaboration with the Print Club London. Re-purposing unwanted totes with a fresh new design intended to enlighten audiences and address the issue whilst encouraging us to reuse and recycle when we can. Visitors could also make donations with the proceeds going to CDW’s official charity partner, Maggie’s.
In the theme of confronting misleading discourse about sustainability and shedding light on common misconceptions about what materials are considered sustainable and which ones are truly harmful to the environment, TDO Architecture, Studio 8Fold and Studio DA were commissioned to create way-finding sculptures in polystyrene to be situated around Clerkenwell during the week. The sculptures were produced by Bakers Patterns who specialise in polystyrene model making and manufacturing.
Creative Director of CDW Max Fraser says,“Polystyrene is considered one of the ‘bad’ materials of our time as it can’t be recycled through regular municipal recycling schemes. However, if the material is sent back to the manufacturer, it is 100% recyclable (98% of it is air). So we are commissioning these beacons at CDW with their end-of life destination fully diverted from landfill.”
The Dutch bespoke wood manufacturer Hakwood and Shape London collaborate to create an interactive installation. Hakwood’s ‘Behind Closed Doors’will be a 3.2m high installation designed and fabricated by Shape London. A miniature street-scape was constructed to that draw inspiration from the Dutch townhouses, with each house including a small door which reveals a series of miniature interiors designed by various architects from Shape’s Dragon Fly Place Collective. The installation was designed to demonstrate that any interior design or form of décor is an open door for creative inspiration.
For the third consecutive year, Scale Rule gave St. James’ Churchyard a new focal point by implementing a pavilion design conceived by GCSE students from around London. This year’s winning concept responded to the theme of sustainability by proposing a sensitive metaphor: layers representing past, present and future will create a kaleidoscopic oculus, inviting visitors to take a moment to direct their eyes up an become more aware of the key natural elements around them.
Modern eco-friendly furntiure manufacturer, Loll Designs, showcased the most popular pieces, from the classic Adirondack lounge chairs to the new outdoor furniture Fresh Air collection. Not only does their modern outdoor furniture add a unique and contemporary aesthetic to outdoor spaces, but all of Loll’s products are mindful of the environment, using 100% recycled and recyclable material – mostly from discarded plastic milk bottles. To date, Loll has helped upcycle over 70 million milk bottles!
Mark Saward, founder of The Cabinet debuts ‘The Sideboard’ which takes it’s influence from nature, contrasted with contemporary materials and construction techniques. Raw smoked oak veneer is inlaid on to stone textured Valchromat to stunning effect. Adopting a minimalist approach with maximum impact by showcasing nature in it’s natural state. Each piece is bespoke as no one tree-cut edge veneer is the same. Utilising a soft close vertical lift hinge system, the opening of The Sideboard adds to the overall drama of this standout statement piece.
London based Leather Architectural Ironmongery and Leather Products Design firm with a pro
This year saw a new, exciting exhibition dedicated to light. The brick vaults of nightclub, Fabric, featured an exhibition of top international lighting brands unveiling their latest cutting-edge collections and innovative new products presented as spectacular stand-alone lighting installations. Exhibitors included Bert Frank with a striking range of luxury, mid-century inspired lighting, which has already won a string of industry awards. Rich Brilliant Willing, Brooklyn-based studio that designs and manufactures LED fixtures for hospitality, workplace, and residential projects. Marc Wood Studio presented its debut lighting collection, Pleated Crystal which comprises of ceiling pendants, a side light and a floor standing lamp. Handmade in Bohemia and London, the collection draws upon Marc’s love for Czech artisan glass work and British engineered detailing.
Also new this year, CDW brought together a leading selection of ironmongery, hardware, switch plates and architectural accessories within a street-market style pavilion on St Johns Square, becoming the go-to destination for designers looking for the perfect finishing touches. Brands included the London-based leather ironmongery and product design firm House of Eroju, and the specialists in decorative metalwork and door hardware solutions for luxury hotels and residences, Carrson International, among many others. British light switch company, Forbes & Lomax introduced the Aged Brass light switch to their existing Invisible range. The new collection which adopts an antique aesthetic has been left unlacquered, allowing it to patinate even more over time for an aged and rustic effect.
To see more from Clerkenwell Design Week 2018 or find out about next years event, click here.
It has recently been difficult to escape the current high profile trend for fashion brands to enter the homewares market. From Dior to Zara, the high street and the luxury boulevards are showcasing textiles, accessories and furniture alongside jackets, shoes and skirts. The integration of the home divisions of these globally recognised marques is tremendously variable in terms of the level of connection to the DNA of the brand. Much like fashion, the addition of a badge or logo to a simple shape or silhouette may be the only distinguishing feature of a brands influence. The best known names in the industry, those with a heritage of over twenty years or so have established a precedent of ready made “trend” or “taste” simply by the addition of the brand to an interior. Fashion is a fast paced, transient and reactive sector whereas furniture has traditionally been firmly rooted in heritage, time and to a certain extent, craft. The speed of change in the fashion marketplace is greater than ever before and the homewares sector has had to raise its’ game to keep up.
Changes in technology, the supply chain and distribution have allowed the interiors market to become more in tune with the cycles of the fashion world and this is where the newest additions to the list are beginning to take advantage. The major barometer of the interiors market comes every April in Milan at the Salone del Mobile. There may be bigger shows in terms of sq ft in the USA but in terms of fashion and trends in the industry, Milan is still the overarching benchmark. The number of high end luxury fashion brands working either directly with or in association with manufacturers is steadily growing. Certain furniture manufacturers have also even taken their leads from the fashion industry and re-branded using the same methodologies as clothing brands
Kings of Chelsea has the great pleasure of working alongside Roberto Cavalli Home Interiors as the sole UK dealership. Launched as recently as 2013 the furniture and furnishings division is inextricably linked to the fashion side of the business. At the head office in Florence Paul Surridge, the incumbent creative director, works alongside a team of specialists who provide technical detail of how to apply print, shape and form to furniture, tableware, linens, tiles and wallpapers. The Roberto Cavalli Home division offers a fully immersive lifestyle experience, directly linked back to the DNA of the brand. Unlike other fashion furniture brands the creative process is fully rooted in the design studios of the Maison itself.
Of course this creates huge pressure on the process, as keeping up with the fashion seasons cycle means being ahead of or at least equal to the collection launches. The solution is to create capsule and classic collections so that the ranges are available to both those who value contemporary trends and those who require something more timeless. Within the ranges are the possibilities to specify finishes, leathers and fabrics until the piece is unique to the individual. When a brand is new to the market this invariably means this will be the very first time each order has even been produced. Just like the very finest fashion, these orders are in effect “couture” furniture. With an increasingly demanding, knowledgeable market, this is an incredibly valuable feature. Bespoke and fully personalised goods and experiences can now be found within most luxury categories (watches, automobiles, holidays, hotels) and it was only a matter of time before interiors stepped up and took their place at the table. Recent additions to the roll call have included Bottega Veneta, Hermes and Gucci so it is clearly a trend that is unlikely to end soon.
Fashion brands carry enormous value to a global HNW (high net worth) community and add both an increase in selling and rental values to real estate. Cavalli is currently working with developers in both Dubai and Saudi Arabia on fully branded projects, and the trend seems to show no sign of slowing down with Versace, Fendi, Bulgari and Bentley amongst a number of brands also involved in current schemes. Predominantly, from Middle Eastern and Asian interests, the arrival of these type of developments in the UK is a growing market and likely to be more and more noticeable in the next few years as the purchasing power of these nations investing in real estate in the UK shows little signs of diminishing. Fashion brands are seemingly craving the way for prosperous future in the realm of interior design as the two worlds are continuing to merge at an unprecedented rate.
Written by Theo Mance, Managing Director at Kings of Chelsea.
Meet one of our esteemed judges for the prestigious SBID Awards, Carlo Camillo. The Global Director of Store Design and Visual Merchandising at Christian Louboutin Beauté talks to SBID about creating luxury experiences and the creative opportunities that the new retail landscape brings.
Interior designer Carlo Camillo directs the store design and visual merchandising process, which includes prototype development and implementation of beauté boutiques; wholesale beauté counter design; pop-up and new market event design; new product in-store launch distortion; product display and packaging design. His previous clients include the boutique hotel brand BD Hotel, L Brands (Victoria Secret Beauty and Accessory, La Senza) and Parfums Christian Dior. He has also run his own design consultancy, where his clients included Armani, CK, KOHLS and Vera Wang.
You have a background in both retail and hospitality design; what differences have struck you?
When I was working in hospitality design, each project brought something new. You had to be very strategic in terms of what you were designing, for example when I worked on the Pod Hotel, a New York hotel for BD Hotels based on the Japanese capsule model, we had to work with the legal limits of how small we could go. In retail, you can be a bit more experimental and work on a faster timeline. When I was at l Brands, we worked with five key brands and were able to test in non-flagship locations, so we could try something and see how the customers reacted and how they shopped – we learned so much from doing that. Here at Christian Louboutin Beauté, we have our own counter built into the office where we can prototype new displays and maintain a stream of creation and ideation.
Your role extends beyond store design to areas such as merchandising, packaging displays, graphic design and photoshoots; has that been a challenge?
My role is so much fun and I’m faced with challenges I never had to consider before as an interior designer. Christian Louboutin is so creative and open-minded that I am often challenged to think outside the box. from day to day I can be working on a multitude of projects, from a new store design to a blogger gift box for a global launch. The way in which we introduce our brands has to be seamless so we take a 360-degree approach. Commerce in retail is driven so differently now; more people are shopping online and events have become a driving force in retail. It’s a great opportunity for a designer.
How do you ensure the design between the fashion brand and the beauty brand, remains seamless?
I partner with colleagues such as the global Director of architecture & Store Design, Marianne Lévesque, and the Visual Identity Director, Sarah Boston. I also work with Mr. Louboutin, who is very much part of every design process. We work really hard to ensure we’re aligned – and aligned with Mr. Louboutin’s vision. I have always worked with [beauty] brands that have a fashion side but I have to say this is the most generous and supportive team I’ve worked with. everyone shares new ideas and collaborates – and this starts from the top down. Mr. Louboutin is one of the coolest people to work with and he’s very open to hearing other ideas. one of the most inspiring people in the company is my boss, Catherine Rogerro Lovisi, general manager, whose scope of work and experience is exceptional. I consider her to be a pioneer of the luxury beauty industry.
How does working at Christian Louboutin Beauté differ from your previous roles?
I’ve worked in the beauty industry for some time, across six different brands. There’s a typical format but at Christian Louboutin Beauté we don’t follow that format, largely because it’s such a personal brand for Christian. for example, we don’t do visuals in-store, so we have to think of other ways to bring animation and excitement into the stores. We’re so different from every other brand and our design is so out there that it’s hard to pigeonhole us. for example, if you look at how we present our lipstick products, it’s unlike anyone else in the industry. When I came here, I realised that this brand is the epitome of luxury and quality. We have few competitors at this level so we have to present the products in a different way.
As a designer, what are you aiming to give the customer in terms of the store experience?
I want the client to get a sense of who Christian Louboutin is. He’s multicultural and his products have a broad range of motifs that he likes to incorporate. We also want women who come into our stores to feel like an empress. We are focused on enhancing the beauty of our customers by creating environments with the best lighting and that feel beautiful. We want to bring happiness into the customer experience and we include that in different ways. At the moment, we’re looking at how we do
that by incorporating technology that allows the customer to bring that experience online. We are currently working on bringing something very new to the in-store experience that will allow customers to Christian Louboutin perspective which is unlike any other.
How do you stay inspired?
Well, I live in New York and we’re surrounded by culture so one of my favourite things is to visit galleries and museums, plus I get to travel to Europe. At the same time, you can’t always travel so I’ve adapted my social media streams such as Instagram and Facebook to connect with museums and art galleries so I’m always aware of any events I should attend. Instagram is one my most prized tools, not just for following museums and galleries but also to see what other creative people are posting. It allows me to see what other people are seeing and doing; when you see the same thing more than once you understand there’s a trend.
For more information about how to enter for or attend the glittering Awards Ceremony, visit the website, here.
This feature originally appeared in the Q&A section within Volume 7 Issue 1 of the official SBID interior design magazine, eSociety.
Click here to read the full issue
The Society for British & International Design and our partner Be Open, have collaborated to launch a new national student competition for final year creative students and graduates across Interior Design, Interior Decoration, Fashion Design, Art and Product Design to submit their final year projects for a chance to win £30,000.
In collaboration with recognised SBID universities, with the support of industry members, sponsors and competition partner; Be Open, students across the creative industries are invited to submit their end of year project and propose a Course Leader to be recognised as Visionary Tutor 2018.
SBID have created this new life changing, equal opportunity competition in a bid to showcase emerging talent in each of the creative design industries, as well as providing the vital link in nurturing relationships between those completing their studies and professionals working in the industry.
Judges and sponsors will present the overall winner with a cash prize of £30,000; as well as £1,000 to each of the five category winners, and the winning tutors across each category with a Visionary Tutor 2018 award at the exclusive awards ceremony set to be held on 29th November 2018.
Entries are now open and students have until Friday 31st August to submit their entry through the SBID website www.sbid.org/student-competition. Category winners will be announced on 29th October, and the overall winner which will be selected from all entries will be announced at the awards ceremony in London the following month.
Judges will be looking for qualities such as originality of expression, individualism, creative use of materials and presentation skills. Each student or graduate may email one submission per category in one of the following mediums:
SBID founder, Dr Vanessa Brady OBE, says “We are delighted to launch this competition for the benefit of Universities, students and support of Industry members. SBID recognise the time, research and financial cost invested in esteemed university education, the outcome of this competition is aimed at increasing the opportunity to gain employment from the most prestigious, innovative and creative companies from local, national and global to established or start-up. As a core value SBID and Be Open strongly believe in highlighting student activities and the potential the experience brings”.
To find out more about the Designed for Business 2018 student competition, whether you are eligible, or how to enter your project, click here.
To throw spotlight on creativity around the world, we profiled the SBID Masters of Design. In the Volume 7 Issue 1 edition of eSociety, we talked to the contemporary Chinese sculptor, Qu Guangci, about his approach to merging art with interior design.
In 1994 Qu Guangci won the Sculpture Award at the 8th National Fine Arts Exhibition, becoming the youngest winner in history at the age of 25. As an artist he has attracted widespread attention for his contemporary sculpture language and his post-political expression techniques. Here’s what he had to say about the role of art in interior design…
How do you believe you can have a positive impact as an artist?
As an artist, I measure effort and establish standards from the perspective of the spirit of humanity. I see art as being something like a ‘home accessory’ because we try to demonstrate that art can have a positive effect on the relationship between people and the home. This change in the relationship enhances the connection between people, objects, and spaces. It is a challenge as well as an opportunity to improve people’s lives.
Have you always wanted to work in interior design?
It wasn’t my first intention. When I was creating artistically, for me tracing the logic between my art and the spaces in which my artworks will be displayed became more interesting then the creation of new things themselves. I love the feeling when I decode that underlining connection. I founded X+Q Art in 2010 as an experiment in associating art with interior design. I’ve talked to many successful interior designers around the world to refine our artworks in order to perfectly incorporate them into their spaces and to measure how successful the connection is between the two.
Do you think that art and design can make the world a better place?
To me, art is perfection. It is a phenomenon of a well-balanced relationship among people, nature, and everything in the universe. Creating art is like creating such a relationship. The ultimate purpose is to show people where they can find that point in the relationship where their lives are perfectly balanced.
Read the rest of this feature to discover more about Qu Guangci. From his thoughts on the difference between Chinese and Western design and the project he is most proud of, to what influences him creatively and the advice he would give to the next generation of creatives.
Read the rest of this feature →
Qu Guangci, contemporary Chinese scultptor and Founder of X+Q Art
This feature originally appeared in the SBID Masters of Design section within Volume 7 Issue 1 of the official SBID interior design magazine, eSociety.
The most eagerly anticipated event on the interior design industry’s calendar once again drew in a myriad of designers, architects, editors, specifiers and enthusiasts alike as they descended upon Milan Design Week last month for the annual international furniture and design fair, Salone del Mobile. The shroud of primed interior designers and industry professionals culminated to a remarkable attendance record, hitting new heights of 1,841 exhibitors and 434,509 visitors from 188 different countries across the 6-day stint. Whether attendees were there to showcase or to survey, there was plenty to discover from the global plethora of products at the Salone Internazionale del Mobile, the International Furnishing Accessories Exhibition, EuroCucina and the International Bathroom Exhibition. If you weren’t among the Milan-bound masses to attend this year to indulge in the latest design inspirations, discover the furniture of the future, and stay in the know for all the up and coming trends across the realms from furniture and lighting, to decor and accessories and much more – don’t panic. We’re sharing a few of our favourite furnishing finds, top trends, and new innovations right here…
Founded by Marcel Wanders, Moooi is an innovative design brand brimming with personality, designed to curate iconic and timeless collections across lighting, furniture and accessories which possess the unique charm and character of antique furnishings, combined with the modernity of current times. Creating unique interior environments with a bold amalgamation of design elements to explore and embrace unusual patterns, textures and colours. This fusion of inspiration from juxtaposing eras of design is upheld in their latest collaboration with Arte, to an exotic and existential degree.
Moooi x Arte unveiled their new wallcoverings collection which brings the exoticism of the extinct triumphantly back into the 21st century with a menagerie of bygone creatures of the past. The Museum of Extinct Animals pushes the boundaries of design with an exquisite and daring series of wallpaper, inspired by 10 recently discovered drawings of extinct animals which Moooi found in the depths of historical museums. The sketches were imbued with the unprecedented beauty of these forgotten, untamed creatures and their distinctive characteristics brought a wealth of inspiration which the collection bravely reinvented to curate this wildly provocative, yet strikingly poetic design of luxury wallpaper. We think this is an alluring and captivating homage to the dark fragility and humbling history of creatures lost to the harsh realities of existence and evolution.
Read more about some of the designs in the series, here.
In the realm of tapware, there is an increasing preponderance of metal finishes that have moved on from classic chrome, shifting towards the preciousness of old gold, the warm tones of copper, and the silky effects of burnishing.
Boffi and Fantini combined forces to forge their Aboutwater collection. The partnership is based on the concept of creating faucets and shower systems with a conceptually timeless, modern and elegant design, whilst also ensuring products are manufactured with materials that respect the environment; assuring the best duration over time. The AF/21 series designed by Naoto Fukasawa is made from an eco-compatible material, which guarantees maximum hygiene and resistance to corrosion. The collection ensures longevity and is therefore mindful of preserving the planet and the reduction of unnecessary waste.
The Living Nature installation is a small, intelligent and sustainable universe containing four different ecosystems, which encourages us to look inwardly at the ecosystem we inhabit, and more specifically, an issue which has increasingly plagued the industrial design industry and the built environment. Sustainability will only continue to grow in significance as the struggle to maintain an ecological balance becomes a prominent global concern. Salone del Mobile thoughtfully and interactively ponders the possible reconciliation of man and nature with an emotive installation that sparks the debate on the value of sustainable living. Carlo Ratti Associati (CRA) produced an evocative and experiential pavilion in which to allow visitors to explore fundamental concepts relating to the eroding relationship between nature and the city; and ultimately, the effects of climate change and continuing industrial development.
‘in the 20th century, cities expanded outwards to conquer nature and the countryside … we believe that today’s challenge is the opposite: how can we bring nature back to the city and into the home?’ – Carlo Ratti
A single 500 m2 space located opposite Palazzo Reale in Piazza del Duomo and receiving over 2,000 visitors a day, the Living Nature installation acted as a continuation of the Salone in the city as a glass encased laboratory combining design, engineering and botany. Conceived with energy saving criteria in mind, the installation housed plants under a 5-meter-high selective crystal membrane that dynamically filters the sun based on input from light-reactive sensors and uses organic photovoltaic panels to create four natural, climactic microcosms that enable the four seasons of the year to unfold at the same time. Visitors were immersed in nature and experienced its changes as they made their way through each of the zones – Winter, Spring, Summer and Autumn.
Read more about the project, here.
Once again, the attention of guests at Milan Design Week is directed to the future of sustainable design as architect Kengo Kuma, together with 3D experience company Dassault Systèmes, uses a stunning, dynamic and architectural display of Japanese ancestral origami techniques, incorporated with innovative advancements in technology to combine the fields of tech, design and sustainability. An intelligent air-purifying installation called Breath/ng which due to its sheer scale, immersive structure and intricate construction wowed audiences across a spectrum of design specialisms but also carried an important message at its root. To encourage designers to combine technology and design as a means of contributing to the resolution of core environmental issues.
Made from 175 square meters of a cutting-edge new mesh fabric called the ‘breath technology’ developed by anemotech, this material possess pollution-neutralising qualities as it contains a nanomolecule-activated core that separates and absorbs toxic molecules. This allows the fabric to filter the air as it captures and disaggregates polluted molecules, allowing the clean, unsoiled air to continue it’s natural flow which systematically lowers the bacterial load of the air that gets in contact with the material’s fibres.
This installation not only provides a smart, ecological means of purifying the air we breathe in a deviceful and meaningful way, but also offers a realistic solution for reducing air pollutants and harmful emissions which is an insightful and pivotal step in directing a discourse towards a feasible method of tackling global environmental issues.
In light of this, with one of the most preeminent design events of the year exhibiting overriding themes which relate to notions of existence, balancing design with environmental responsibility, and demonstrating how the ever-merging relationship between design and technology can be utilised to implement sustainability initiatives, it is clear that designers and manufacturers are continuing to adopt a deeper consciousness for the wider sociological impact of their role within the industry. The challenge for the design industry and professionals as a whole therefore, is to come up with innovative, sustainable, practical and applicable design solutions by harnessing existing technological advancements in an intelligent manner.
To see more from Salone del Mobile 2018 or find out about next years event, click here.
The launch acknowledged the SBID IP Register as a first-of-its-kind management tool to help designers ensure their work is legally protected, which in the case of a breach, gives IP crime experts, TM-Eye, the basis to quickly initiate an investigation.
In light of this recent development with SBID forging the pathway for designers to seek IP protection, SBID spoke to a legal expert from Mishcon De Reya LLP. Suzi Sendama, Associate at Mischon, who challenges the myths surrounding IP rights to ensure you don’t find yourself inadvertently on the wrong side of the law!
At a recent SBID 20:20 Event at The Dorchester, Suzi spoke about a number of common misconceptions relating to intellectual property rights. While many designers have a good idea of what intellectual property is – indeed, is is a company’s most valuable asset and exploiting it can be the key to maximising the profits of a business – there are so many commonly believed IP myths that could land you on the wrong side of an expensive claim for IP infringement.
Many of these misconceptions surround what a designer can and cannot do when inspired by the work of others. From product design and written content, to the legalities of using trademarks. It is said that imitation is the greatest form of flattery. But not all designers would consider it to be a compliment to see their design copied by a competitor. To avoid inadvertently infringing an earlier design, make sure you are clued up on what you can and cannot do if you are designing a product which is similar to one which is already on the market.
Find out what Suzi suggests are the most common misconceptions, what the legal implications of these misconceptions would be, and how you can best protect your work by reading the full feature.
Read this feature →
For further information on Intellectual Property Protection and what we are doing to combat the issue, visit our website.
Suzi Sendama at Mishcon De Reya LLP
[email protected], +44 (0) 203 321 6794.
Have you missed Suzi’s most recent article on the new General Data Protection Regulation (GDPR) rules that will be enforced and how they could affect your business? Click here to see more.
This feature originally appeared in the Business section within Volume 6 Issue 4 of the official SBID interior design magazine, eSociety.
Click here to read the full issue.
However, even if you don’t enter your project for an Award, we’re always interested in sharing and celebrating impressive design projects from around the world. So much so that in every issue of our eSociety magazine we take a look at some of the most inspiring projects, from large-scale retail designs and global hotel projects to high-end luxury residential developments, to see how creativity in interior design is transforming the way we work and live our lives.
In this issue, we explored a new luxury destination nestled between Santa Ynez Mountains and the Pacific Ocean. The Hotel Californian is idyllically placed in the Santa Barbara, coined the American Riviera for it’s picturesque landscapes and Mediterranean climate. Designed by LA-based interior designer, Martyn Lawrence Bullard sensitively retained the façade of the original 1925 Hotel Californian, whilst incorporating the rich, eclectic vibrancy of traditional Mediterranean designs.
This 121 room seaside destination comprises of a rooftop pool, featuring panoramic views of the coastline. Brimming with Mediterranean influences and sultry Moroccan details, this project included the hotel’s two restaurants and spa; the hotel’s signature restaurant, Blackbird; the more casual dining option, the Goat Tree Cafe; and Spa Marjorelle, the hotel’s resident luxury spa. Discover more about how Martyn Lawrence Bullard captured the authentic Moroccan character and imbued the essence of Marrakech throughout this stunning hotel design.
This feature originally appeared in the Portfolio section within Volume 7 Issue 1 of the official SBID interior design magazine, eSociety.
Click here to read the full issue or see more inspiring projects in the Portfolio section, here.
Established in 1829 by two young Scottish entrepreneurs James Craig & Hugh Rose, Craig & Rose built a long established reputation as specialist paint providers in their field. This reputation spread swiftly throughout the UK, enabling Craig & Rose to become the paint of choice for the professional painter and decorator. Edward Brown, the Technical Director at Craig & Rose, gives us his informed insight on which colour palette the Spring season is set to usher in to the market and where the trend for paint finishes will lead in the coming months.
To find out more about Edward Brown’s forecast for paint colours and finishes, read his feature here.
The Czech Republic headquarters of energy company, innogy, is using a new LED lighting system to support the circadian rhythms of the people who work there.
Installed by Philips Lighting, the system is tuned to stimulate the energy levels of the 550 staff at set times in the day. According to Philips, “the stimulus from the ‘human centric lighting’ fixtures is likened to a strong cup of coffee”.
Tomas Michna, Senior Manager for Facility and Services at innogy Czech Republic explains how the system works and why this new innovation in using responsive lighting technology in the workplace can help to improve operational efficiency through remote monitoring and maintenance.
Learn more about this revolutionary lighting system, the effects of using advanced lighting technology on psychological patterns and behaviours and how this can be implemented in interior design, here.
This Special Report Case Study originally appeared in the Volume 7 Issue 1 edition of the official SBID interior design magazine, eSociety.
Click here to read the full issue or see the full Special Report on Lighting and Surface, here.
I think the Colour Council is very relevant to the creative industry in general. With any subject it’s important to have access to a reliable source of information. SBID’s Colour Council initiative not only allows the organisation to share information on colour knowledge but also to set standards in the way we work with colour. It’s also an opportunity to create a permanent knowledge resource for using colour successfully. We will be looking into colour theory, working with colour in space and colour forecasting as well as looking to colour combinations for inspiration; this will enable interior designers to connect with colour experts and establish a reliable information source.
For the past 11 years I have worked with many brands, helping them with product development and marketing strategies. I have built a broad knowledge in colour nuances and how different cultures react to colour by working with paint companies around the world. I have also worked with materials manufacturers as Finsa, Formica, DuPont, Ceasarstone and LG Haus as well as companies as Kimberley Clarks, Samsung, Logitech or Panasonic. I would say that this experience has really helped me to understand how consumers think.
I think designers are fully aware of the need to have the right information. We are a savvy industry and understand that having the right knowledge helps us create customer satisfaction. Right now, you need to search the internet to find colour information which is time consuming. Also because data comes from different sources, how can you be sure it’s reliable? Getting good data on colour is also a challenge for students and anyone else who works in design. Colour is a fabulous tool for creativity but a lack of knowledge in this area can hold you back creatively. That’s why I am strong believer in making information available from a reliable source as SBID.
Co-chair of the SBID Colour Council & SBID East Anglia Regional Director
This interview originally appeared in the Volume 7 Issue 1 edition of the official SBID interior design magazine, eSociety.
Click here to read the full issue or see the rest of the interview with Carolina, here.
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