Tinker Imagineers: Creating an Interactive and Nostalgic Public Space

This week’s instalment of the Project of the Week series features an interactive and nostalgic public space design by 2023 SBID Awards Finalist, Tinker Imagineers.

In the Media Museum visitors experience more than 50 interactive exhibits on media culture and media literacy. Tinker imagineers was responsible for the integrated spatial, graphical, and media design. A unique Media Reactor installation of 300 metres of LED screens connects the themed zones in the museum, and represents the infinite stream of media that comes our way every day. Upon entering the experience, visitors create their own profile. The use of facial recognition in combination with their smartphone, creates a personalised media journey. Visitors get to play interactives, explore iconic media objects, and rediscover nostalgic footage from their youth.

What was the client's brief? 

Develop the spatial and media design for a national museum focusing on media usage and media literacy in the 21st century. The brief was laid out in a master plan created by the project director, Pieter van der Heijden (Xpex).

What inspired the design of the project?

Everyone talks about cyberspace these days, but no one has ever been there. The ambition that Tinker set forth was to create a place where you can physically walk through cyberspace and observe how we, as a society, define media, and more importantly, how media defines us in the present day.

What was the toughest hurdle your team overcame during the project?

Integrating historical media content with live content proved to be a significant challenge. On one hand, we were dealing with a vast media archive, one of the largest in the world. On the other hand, we aimed to seamlessly integrate live content, as real-time interactions are a defining feature of today's online communities. Balancing both aspects was a formidable hurdle.

What was your team’s highlight of the project?

The collaboration with all creative and technical partners, such as Xpex, Bruns, Kiss the Frog, Elastique, and Beam Systems, stood out as a highlight. Together, we successfully crafted a state-of-the-art museum that could possibly be the most interactive museum in the world today.

Why did you enter the SBID Awards?

Winning an award in the design industry signifies recognition for exceptional creativity and innovation. It underscores the quality and impact of one's work, enhancing reputation and credibility. Personally, winning an award is a validation of our expertise and a testament to the team's dedication.

What has being an Award Finalist meant to you and your business?

We are waiting for the final ceremony where we will find out if we won that award, but already are very satisfied with this nomination. Our studio scores a lot of awards, and you would think we get used to it. But every time, it's like a surprise party we didn't see coming. It shows we're on the right track, keeps us on our toes, and sure keeps us hunting for that top-tier mojo in exhibition design.

Questions answered by Stan Boshouwers, Director of Tinker imagineers.

This week’s instalment of the Project of the Week series features a fun and engaging sixth form hub design by 2023 SBID Awards Finalist, Lulie Fisher Design Studio.

Lulie Fisher Design Studio was commissioned by Sunmarke School, Dubai to convert existing classrooms and offices into a state of the art Sixth Form Hub. The brief was to create an iconic space that is cool and funky enough to appeal to 16 -18 year olds whilst being engaging, aspirational and functional. Activities are clustered around a central “garden courtyard” which forms the heart of the facility and is comprised of a series of organically shaped ribbed, timber decks stepping and overlapping to form arrangements at varying heights to act as seating, banquettes and study counters.

What was the client's brief? 

Lulie Fisher Design Studio was commissioned by Sunmarke School, Dubai to convert half an existing floor plate comprising classrooms, corridor, and offices into a state of the art Sixth Form Hub. In the competitive world of Dubai schools, our brief was to create an iconic space that is cool and funky enough to appeal to 16 -18-year-olds whilst being engaging, aspirational and functional as a superior facility for study. In summary it needed to stand out from the crowd of its competitors and have the “wow” and “cool” factor to attract the students who at 6th form level tend to be the primary decision makers in school selection. It was also important that the environment be a serious and sophisticated work one akin to a university style, collegiate environment rather than a school, to foster independence and maturity. The atmosphere was to be one of work rather than play. The brief of areas comprised a presentation area for 60 students for visiting speakers and career discussions; diverse modes of study ranging from collaborative, semi-independent and independent; a self-service F&B area, pastoral office accommodation including career and counselling offices and dedicated sixth form student toilets.

What inspired the design of the project?

The sixth form hub acts as a home base for students when not actively participating in lessons and the central garden with its greenery, daylight, warm palette, and soft finishes coupled with the multitude of study and seating styles, provides the perfect respite for contemplation, study, collaboration, relaxation and nurture and a touch of communing with nature. The functions of the hub are clustered around a central garden courtyard which forms the heart of the facility and is comprised of a series of organically shaped ribbed, timber decks stepping and overlapping to form arrangements at varying heights to act as seating, banquettes, and study counters. Trees and planting are incorporated into the centre of the deck elements and “skylights” comprised of suspended circular stretched fabric concealing daylight simulating light sources are suspended above. This central garden courtyard is a space of collaboration and meeting and the fully enabled platforms have been artfully clustered around a central presentation area where a large format digital screen will be wheeled into place as needed from its dedicated storage place at the perimeter. The floor finish in the garden is picked out in shades of green and pebble and follows the organic shapes created by the decks and inset into a background of grey-toned tiles. Sunny yellow carpets highlight perimeter areas, and the overall palette is fresh, warm and inspired by the earth and natural elements.

Existing columns and riser ducts have been disguised in lozenge shaped plasterboard casings and integrated into platforms or banquette designs. A dado of variously ribbed timber, fluted upholstery and paint colours anchor these elements into the design. The perimeter of the hub is occupied with a combination of private and contemplative spaces, communal worktables, acoustically treated study booths for single use, two or four person working groups, bench seating for casual working, bar counter height work stations and soft clusters of sofas and armchairs. In this way a myriad of study modes is possible to suit all preferences.

Acoustic treatment and privacy have been carefully considered in the design by passive zoning of activities in plan and by more active placement of oversized acoustic lighting features, acoustic wall panels in the form or decorative features and acoustically absorbent fabric lined booths. Pairs of glazed offices for pastoral support and designed to have a nurturing and hospitality aesthetic have been located centrally along either side of the main perimeter walls not only with the purpose of providing uninterrupted lines of sight to the student areas but for providing alcoves either side for quiet study.

A self-serve bar has been provided at one end of the facility with a pistachio green tiled wall and tiled shelving where students can help themselves to hot and cold drinks, prepare food and socialise. An existing toilet block has been upgraded into a dedicated sixth form facility with the introduction of banded tiling in terracotta, white and deep blue, and over-sized circular mirrors to suite in with the existing chroma key blue cubicles.

What was the toughest hurdle your team overcame during the project?

Balancing creating an attractive space for 16 to 18-year-olds with the ‘cool’ factor while establishing a sophisticated environment for serious individual or group study was the main challenge. This was overcome by using the calming elements of the outdoors as the basis of our design and creating contoured shapes for flowing circulation and to break away from any rigidity. The layout of the space was informed by the need for a range of both quiet and more lively, social spaces. As the plan was developed and the central hub came to life, more contemplative zones were naturally formed around the perimeter of the space. Being an open-plan space, which could cater to groups of 60 the acoustic levels had to be managed carefully to maintain an environment conducive to learning. Various sound absorbing materials such as ceiling panels, acoustic fabric and decorative felt lighting were used to subtly address this factor. Since the hub was in an existing building hidden MEP and structural elements were revealed sporadically during construction. To protect the design, we modified features proactively during the build as unwanted elements were uncovered. An example of this would be the 800 x 600mm risers and ducts disguised within a lozenge shape plasterboard.

What was your team’s highlight of the project?

The functions of the hub are clustered around a central garden courtyard which forms the heart of the facility and is comprised of a series of organically shaped ribbed, timber decks stepping and overlapping to form arrangements at varying heights to act as seating, banquettes and study counters. Trees and planting are incorporated into the centre of the deck elements and “skylights” comprised of suspended circular stretched fabric concealing daylight simulating light sources are suspended above. This central garden courtyard is a space of collaboration and meeting and the fully enabled platforms have been artfully clustered around a central presentation area where a large format digital screen will be wheeled into place as needed from its dedicated storage place at the perimeter. Acoustic treatment and privacy has been carefully considered in the design by passive zoning of activities in plan and by more active placement of oversized acoustic lighting features and wall panels in the form of decorative features and acoustically absorbent fabric lined booths.

Why did you enter the SBID Awards?

We are a small, friendly, and dedicated team continuously striving to weave our passion and enthusiasm to create unique captivating spaces. SBID Awards serves as an international platform for recognition amongst a wide spectrum of leading design studios and consist of a broad range of award categories. Being part of SBID can attract new clients who are specifically seeking out innovative and exceptional design.

What has being an Award Finalist meant to you and your business?

Being an Award Finalist with SBID can have a wide-range of positive impacts, from boosting reputation and credibility to attracting clients seeking innovative design solutions and to fostering growth by increasing team members morale. Award ceremonies and events offer excellent networking opportunities as well and can lead to new projects and partnerships.

Questions answered by Lulie Fisher, Design Director and Founder of Lulie Fisher Design Studio.

This week’s instalment of the Project of the Week series features a playful and whimsical public space design by 2023 SBID Awards Finalist, Lulie Fisher Design Studio.

Lulie Fisher Design Studio was commissioned by Regent International School Dubai to convert areas of the school into Primary, Secondary and Early Years Libraries. The Early Years library is based around the theme of an enchanted whimsical forest which encourages exploration and captivates the child’s imagination. A central reading circle with mirrored ceiling creates a curious environment. In the Primary and Secondary library zones are defined to appeal to both age groups by creating petrol blue surfaces and joinery in the primary zone and a dark red ceiling with a central red “living room” in the secondary.

What was the client's brief? 

The project brief was to convert areas of the existing school into Primary, Secondary and Early Years Libraries. The Early Years Library at Regent International School was located in a small, tired and uninspiring classroom and our brief was to convert an existing gym into a dedicated Library for the school’s Early Years students aged from 4 to 7 years. The existing Primary and Secondary Student Library which dated back to 1993 was too small and out-dated for current needs and we were tasked with creating a fun environment that supported learning, collaboration and discovery. To expand the footprint, an adjacent staff room, pantry and corridor were amalgamated into the new library creating an L-shaped space which then lent itself to a natural division into two main zones: the primary students’ zone and secondary students’ zone, each tailored to the students’ age group, aesthetic and their dedicated book collections and study materials.

What inspired the design of the project?

The Early Years library is based around the theme of an enchanted and whimsical forest, aiming to encourage exploration and captivate the imagination. The elements and materials employed create a warm, welcoming yet exciting environment. Alongside this, the layout and forms of the space were based on the topical forms of an ordinance survey, adding a 3D dynamic to the library. Unlike many spaces designed for children, the expected use of bold primary colours have been eschewed in favour of a base palette of neutral and earthy tones employed across a variety of surfaces including a robust vinyl plank on the floor cut into waves of soft greys, browns and greens to mimic the forest floor, a soft polka dotted rose toned inset carpet invoking the coat of a whimsical animal and a soft mushroom colour for the exposed ceiling surfaces and services. Blue/green lacquered shelving lines the perimeter, softened with back panels in warm oak. Although small in size, every corner of the library has been carefully imagined and designed to its full potential. The space is divided into three zones: the centrally located Story Time Circle; the Communal Activities Corner; and the gently stepped and striated Shelving and Reading Platforms resembling the topographical contours of an ordinance survey map. These functional and ergonomic feature elements have been custom designed for these zones to enhance learning and participation and to spark the imagination.

The experience is further magnified by a mirrored ceiling, creating the illusion of endless volume. Special attention has been paid to the treatment and design of the ceiling as young children are most comfortable lying on their backs when reading. The Early Years library is a calming and enchanting space which through its carefully considered layout, colour scheme and both functional and whimsical design elements, encourages curiosity, discovery and learning.

In the Primary and Secondary library there was a need to clearly define each space to ensure they appealed to each age group. The primary students’ zone on the right at entry is clearly defined by a petrol blue ceiling, walls, carpet and joinery elements. An exciting yet functional series of bespoke, tiered platforms, create an interactive versatile environment for students to sit, gather or recline while reading. The books are integrated within the risers of the steps and are mindfully grazed with soft LED lighting. A large, custom-designed, organic-shaped table anchors the space centrally and is used as the main gathering point for communal activities under the delicately preserved indoor tree.

The secondary students’ zone on the left, is defined by the dark red exposed ceiling and the red “living room” in the centre of the space which is flanked by long communal work tables either side. The “living room” element is a self-contained room with raised floor, walls and ceiling which has been created as a device to transport the students into a cosy residential environment where they are surrounded by warmly lit bookshelves, comfortable lounge seating, rug, pendant and glowing wall sconces.

What was the toughest hurdle your team overcame during the project?

Early Years Library: The requirements for the library were as large as the given space was small. A large volume of varied book sizes had to be stored whilst ensuring accessibility to little readers. Rather than line the space with shelving, we wanted to create various zones for play as well as study. Being able to store books within the raised platforms and animal shaped bookshelves helped take care of this factor along with storing large books within playful low level mobile storage units. The custom joinery had to be carefully studied and ergonomically designed to suit the young readers.

Primary and Secondary Library: The library needed to house a set volume of books together with future expansion potential while creating a welcoming environment for collaboration, self-study, group study, presentations and lectures for two very different age groups. It was a challenge to zone and balance the space for these various functional requirements along with visual focal and this was overcome by the clever use of materials and colour blocking.

What was your team’s highlight of the project?

Early Years Library: As the children enter the library, they are drawn towards the striking central feature – a pale blue story circle surrounded by books, acting as a cocoon with a soft carpeted floor, cosy leaf shaped blankets and crowned by a vibrant and enchanting rain cloud feature composed of colourful felt interspersed with twinkling rain drop shaped pendants. The experience is further magnified by a mirrored ceiling, creating the illusion of endless volume. The contoured reading platforms nestled into one corner of the library contain books tucked below the steps and this element acts as a connection to the story time circle, creating spill out for larger groups to congregate around the teacher and different seating and reclining options.

Primary and Secondary Library: For the Primary area, an exciting yet functional series of bespoke, tiered platforms, create an interactive and versatile environment for students to sit, gather, or recline while reading. The books are integrated within the risers of the steps and are mindfully grazed with soft LED lighting. Decorative wall panelling and oversized pendant lighting not only help to contain any noise generation and disturbance at source but also add softness. The reception desk is clad in rich, turquoise-glazed tiles, acting as a focal point for young students who need the librarians’ support to administer the book check-in and check-out system. Two wall sconces in the form of owls (which have long been associated with knowledge and wisdom), look on from behind the desk, providing a quirky and humorous design element.

The “living room” element in the Secondary space is a self-contained room with raised floor, walls and ceiling which has been created as a device to transport the students into a cosy residential environment where they are surrounded by warmly lit bookshelves, comfortable lounge seating, rug, pendant and glowing wall sconces.

Why did you enter the SBID Awards?

We are a small, friendly and dedicated team continuously striving to weave our passion and enthusiasm to create unique captivating spaces. SBID Awards serves as an international platform for recognition amongst a wide spectrum of leading design studios and consists of a broad range of award categories. Being part of SBID can attract new clients who are specifically seeking out innovative and exceptional design.

What has being an Award Finalist meant to you and your business?

Being an Award Finalist with SBID can have a wide-range of positive impacts, from boosting reputation and credibility to attracting clients seeking innovative design solutions and to fostering growth by increasing team members morale. Award ceremonies and events offer excellent networking opportunities as well and can lead to new projects and partnerships.

Questions answered by Lulie Fisher, Design Director and Founder of Lulie Fisher Design Studio.

This week’s instalment of the Project of the Week series features an urban and minimalistic library design by 2023 SBID Awards Finalist, Xtendere Architecture.

“Mother’s House Library · Airport Library” is not only a library but also a bridge linking Quanzhou culture. Relying on the airport environment, it presents the form of a library in the new era, realising the transformation from a single function to a multi-integrated cultural display space, and expanding the attributes of a variety of scenes.

What was the client's brief? 

Quanzhou Jinjiang International Airport is a 4D-level airport operated by Quanzhou Jinjiang International Airport Co., Ltd. The airport was originally established in 1955 as a military airport and serves as a bridge linking Quanzhou to the world and a driving force for development.

What inspired the design of the project?

The inspiration of this project comes from the vivid memory of urban culture in southern Fujian, and from the interpretation of hometown feelings. We hope to build an open and public library and gather people in the airport in various ways of social ceremony activities such as "physical presence, joint participation, emotional exchange and resonance" to create a harmonious interpersonal atmosphere, narrow the distance between tourists and urban culture, and stimulate tourists' sense of identity with urban culture.

What was the toughest hurdle your team overcame during the project?

How to break through the traditional expression techniques of Minnan culture and express Minnan culture with modern design techniques, so that Minnan elements can be presented in a more comfortable and gentle way in the new era and space, which will infect every visitor invisibly. At the same time, affected by the epidemic, how to ensure the smooth and perfect landing of the project is also an obstacle we face.

What was your team’s highlight of the project?

The landing of this project is a demonstration of regional culture and the spread of local spirit. It presents the form of a library in the new era, absorbs the artistic form of multi-culture, and connects with the direct value realisation of urban development empowerment, opening a window for Quanzhou culture to spread abroad.

Why did you enter the SBID Awards?

SBID Awards is a platform for displaying design works and talents. On the one hand, I want to establish a good reputation in the industry through this award and increase the wider publicity and promotion of my works. On the other hand, it is an opportunity for learning and development, and I can learn the latest design trends and improve my design skills and knowledge through the competition.

What has being an Award Finalist meant to you and your business?

Being shortlisted for the SBID Awards finals means that the jury recognises and affirms our professional ability and creative level for me and my enterprise. This also gives us greater responsibility and obligation to explore local culture and endow traditional culture with new expressions and communication forms through design.

This week’s instalment of the Project of the Week series features a modern and multipurpose public space design by 2023 SBID Awards Finalist, KLID.

This is an urban public space in Chengdu, the project is located in public transport hubs. The designer wanted to reduce the sense of apathy between people, and they can read, talk, drink a coffee. The space meets various functions for leisure and communication, or immerse in the world of reading.

What was the client's brief? 

This is an urban public space. The project is located in an important location with multiple public transport hubs. We want to create an iconic public space where fast moving people want to stay. Function setting: Public hall, Ladder square, Reading, Cafe, Parent-child learning.

What inspired the design of the project?

For the surrounding group of people, the public space is the link that connects the surrounding group lives. The space is inspired by dancing ribbons. The dancing ribbon not only serves as a link between the upper and lower levels, but also symbolises the rhythm and vitality of the city.

What was the toughest hurdle your team overcame during the project?

The project is located in the TOD plan of Changgongyan, Tianfu New District, Chengdu. Guided by public transport, TOD（Transit-Oriented-Development）project has lots of mixed functions such as commerce, office, residence, rail transit, etc., becomes an indispensable urban unit in contemporary life. We wanted to create a place for people to stop, have a cup of coffee and read a book in the urban nodes where people are moving fast. Break the strangeness between people and increase the interaction between people.

What was your team’s highlight of the project?

The main function of this case is to socialise. The space can meet various functions for leisure and communication, or immerse in the world of reading alone, or the ladder square of cultural salon activities. People stay, communicate and gather here. We used lightweight aluminum, which is used to make metal panels that are light and hard enough to make ribbons. The dancing ribbon not only serves as a link between the upper and lower levels, but also symbolises the rhythm and vitality of the city.

Why did you enter the SBID Awards?

The reason we decided to participate in the SBID Awards is because we have a deep passion for design, and we also wanted to challenge our creativity and skills. This competition provides a platform for showcasing our work, and we hope to use this opportunity to absorb more design inspiration, engage with other talented designers, and receive feedback from professionals in the field. We believe that taking part in this competition will help us continuously improve, not only in terms of design but also in areas such as problem-solving, teamwork, and time management.

What has being an Award Finalist meant to you and your business?

Being an Award Finalist for our interior design project has been an incredibly rewarding experience for both me and my business. It signifies a validation of our creative vision and the hard work we've put into crafting unique and impactful spaces. The recognition from such a prestigious international award has boosted our confidence and reinforced our commitment to pushing the boundaries of design innovation.

This accolade has not only brought heightened visibility to our business but has also opened doors to new opportunities for collaborations and projects. The acknowledgment as a finalist on an international stage has provided us with a platform to showcase our expertise and design philosophy to a global audience, further establishing our brand as a symbol of quality and excellence in the field of interior design.

Questions answered by Kris Lin, Interior Designer at KLID.

This week’s instalment of the Project of the Week series features an immersive exhibition space design by 2022 SBID Awards Finalist, Torden & Lynild.

The museum Øhavsmuseet is situated in Faaborg, surrounded by some of the most beautiful landscapes of Denmark. The nature around Faaborg is unique and very varied with ice age landscapes, wooded areas, and the archipelago. In the summer of 2021, Øhavsmuseet opened a new, innovative exhibition concept ‘Discover Yourself’. The exhibition is about the importance of nature for humans of today and for our ancestors.

Discover Yourself’ consist of five immersive spaces: ‘The Hill’, ‘The Bog’, ‘The Forest’, ‘The Sea’ and ‘The Human Nature’ which also represent five ages: the Stone Age, the Iron Age, the Middle Ages, the 19th century, and the present. Throughout the exhibition sound, light, films, scents, artefacts, etc. give the visitor a varied experience.

The exhibition is designed to convey both cultural and natural history. But it is very much a sensorial experience, which also takes elements from the science center tradition and mixes this with a very aesthetic approach to exhibition design. This way the exhibition has attracted a wide audience, including many guests who do not belong to the ‘usual museum segment’.

What was the client's brief? 

The design brief was to create a new, innovative exhibition concept in a disused warehouse at the harbor in the atmospheric old town. The aim of the exhibition was to give the audience a sense of the importance of nature for humans of today and for our ancestors. Nature has always played a central part in the lives of humans. However, in course of time, industrialization and urbanization have estranged us from the very same nature. Part of the design brief was to give the visitors an opportunity to reconnect with nature as well as with our common roots.

The client wanted an immersive experience, where guests would have no need for prior knowledge to visit the exhibition. Everyone should be able to walk in from the street and have an exciting and educational experience. It was also important for the client to create an exhibition which stimulates all senses. An exhibition that addresses the body, the brain, and the imagination.

What inspired the design of the project?

The landscapes of this part of Denmark is amazing. One of the most inspiring experiences during the development of the exhibition was a trip to some of those magic nature places.To inspire us at the beginning of the process, two of the museum curators took the design team from Torden & Lynild on a see to the highlights of the region. They showed us a very atmospheric forest with a lot of burial mounds, a beautiful place by the see and a large area with ice age hills. This experience truly kicked us off creatively.

What was the toughest hurdle your team overcame during the project?

A bit more than halfway through the process we had a big hurdle, as the construction company which were supposed to build the whole exhibition told us that they could not manage in time. Luckily, we found another very skilled contractor and with only a minor delay we managed to complete an exhibition of extremely high standard.

What was your team’s highlight of the project?

We are very happy that the public has received the exhibition so well. The museum had set their success criteria to reach 10.000 visitors in the first half year and they reached this goal.  As part of the qualitative evaluation of the project carried out by an external consulting firm, it has also been concluded that the audience is very enthusiastic about the exhibition and especially happy with the sensorial, physical, and engaging elements. Also we are proud and honoured that the exhibition received four nominations for international design awards including the SBID International Design Award.

Why did you enter the SBID Awards?

We had noticed SBID Awards because some of the most esteemed Design Companies have had the honor of winning the prize, which inspired us to submit this project. SBID is a very prestigious award and it seemed like a great opportunity to present the work of Torden & Lynild.

Questions answered by Sigrid Bennike, CEO and Scenographer, Torden & Lynild.

In this week's interview with 2022 SBID Awards winners of the Public Space category, Kossmanndejong, Pauline Fer explains the concept of the design, how they displayed the information in an accessible way, and developed custom-made solutions to fit the project's narrative.

At Beezantium, integrated architecture and scenography transform what initially appears as a small, wooden building on the outside into a thriving beehive on the inside.

Firstly, tell us a bit about the design of your project. What were the key ideas, concepts and processes behind it?

Our scenography transports visitors into a thriving beehive by surrounding them with giant honeycombs made of a material mimicking wax.

The information in each of the honeycomb’s hexagonal cells contributes to the larger story. The narrative begins with a close focus on the bees. Visitors can watch living colonies in the observation hives, witnessing how these superorganisms organise themselves. With each honeycomb layer, the narrative’s perspective slowly broadens. We see the bees interact with their surroundings and discover how human actions affect bees. Gradually, visitors become aware that everything in our ecosystem is connected and that bees play a vital role in it.

To share this information in an accessible and intuitive way, we minimised text and worked with a multisensory combination of images, infographics, interactives, animations and audio. Each cell contains a piece of information waiting to be harvested by visitors. For example, visitors feel the warm temperature at which bees regulate their hives, learn about the tools used to artificially inseminate the queen bee, and consider a drop of honey that represents how much a bee produces during its entire lifetime (1/12 teaspoon). And in the audio guide, the estate’s beekeeper Paula Carnell shares her fascination with bees.

What was your biggest takeaway or highlight from completing this project?

We started working on the project with the expectation that we would create an exhibition about bees. But we ultimately developed a story about how everything in our ecosystem is connected. It was fascinating to dive into the world of bees and discover how much we depend on them.

What has winning an SBID Award meant for you and your business?

We strive to create impactful experiences that inspire and move visitors. We are honoured that our design resonated with and left a lasting impression on industry leaders and the public.

How was the process of arranging the display in a quite small and open space? Did you encounter any difficulties?

Our client wanted a space suitable for exploration and contemplation. The 50 m2 space was the perfect size to create a human-size hive. And we embedded a lot of information in the honeycomb’s hexagonal cells without overwhelming the space. These cells function like mini exhibits, partly hidden behind doors, peek holes and in drawers. They invite visitors to actively explore the content and draw them into the bees' world.

Given the observational hives on display, we developed a low-tech exhibition. Bees communicate and navigate using vibration, so we limited our use of technologies, like WIFI, that can disturb this.

The furniture and accessories used in the project probably couldn’t be found in a store. Did you commission any of the pieces? How did you find working directly with manufacturers and using made-to-order furniture in the project?

Our design is content driven, and we develop custom-made solutions unique to each project’s narrative. We have an extensive network and always look for the best partner for the project. Our shared trust encourages us to push ourselves and innovate, researching and experimenting until we find the right solution. For this exhibition, we worked with Kloosterboer Decor to find the perfect material that mimics wax’s structure, texture and opacity.

Even The Newt estate’s bees contributed. They coated a wood panel with propolis for visitors to touch. Propolis is a glue-like substance inside the beehive that the bees use for protection and repair. Another display features honey samples that show how different flowers produce different honey colours.

What is the most important thing to keep in mind when working on a design for a public space?

A public space must engage visitors with diverse expertise, experiences and interests. There should be something interesting for everyone to discover. That’s why we create layered stories. The main messages in this exhibition are easily accessible and yet every honeycomb cell enables visitors to explore more detailed information. Whether you’re in for a quick visit or stay longer and dig deep, you will always have a meaningful experience.

Questions answered by Pauline Fer, Spatial Designer, Kossmanndejong.

This week’s instalment of the Project of the Week series features a contemporary hotel's public space design by 2022 SBID Awards Finalist, Paul Liu Design PLD.

Located in the core area of Dinghu New District, Zhaoqing City, this new Sheraton hotel is integrated with the beautiful landscape belt of Changli River, wetland park and other waterfront landscapes. It is designed to showcase new experiences, leading guests to work, relax and party in a comfortable social atmosphere during their stay. With 398 guest rooms, this hotel has 1,700 square meters of banquet and meeting space, including 1 grand ballroom, 6 conference rooms and 1 multi-function hall. All venues are equipped with high-speed Internet connections and modern audio-visual equipment. The 715 square meters column-free grand Ballroom can be flexibly divided into 2 independent Spaces. It is ideal for events of all sizes, such as large conferences, romantic weddings and social gatherings. It also offers a range of leisure facilities including a fitness center with cardio and fitness equipment, an indoor heated swimming pool and a jacuzzi and sauna.

What was the client's brief? 

The interior designer is commissioned to convert an existing building and rebuild it into a new design Sheraton-branded contemporary hotel that can articulate Marriott International's brand strategy, philosophy and globally consistent image while take the owner's operational, budget, time schedule requirements and aesthetic issues into consideration.

Since 2018 Marriott International announced plans to reinvent its Sheraton brand for a new generation of travelers. Sheraton Hotels & Resorts have been transformed under new version that guests can appreciate a sense of timelessness balanced with a refresh, modern feel that's ideal for working, meeting and relaxing during their stay. Beside the client's requirement, this property design also needed to follow the Facility Criteria given by the Brand guideline.

What inspired the design of the project?

The Zhaoqing Sheraton Dinghu Hotel design details inspired from its unique geographical location. The designers also used Oriental Aesthetic Duan Inkstone as a nursery of ideas in style. The fundamental core values of Chinese cultural philosophy were applied to design technique to emphasize the unity and harmony.

What was the toughest hurdle your team overcame during the project?

Due to the diversity of functions within a hotel building, a large number of specialist consultants were required to coordinate with during each critical design stage that made the design process very complicate and challenging. Another challenge facing is how to make the most efficient floor plan configurations and energy intelligent within the limitations of the existing architectural condition.

What was your team’s highlight of the project?

The new Sheraton brand's new design approach draws on the hotels' roots as community hubs for locals and guests alike with aims to create an intuitive and holistic experience, integrating areas to connect, be productive and feel part of something special during their stay.

In the new design elements of Zhaoqing Sheraton hotel, the integration of work and enjoyment is at the heart of the design, using the concept of open shared space in the lobby of the hotel. The integrity of the space makes it vibrant and belonging, with open spaces for guests to socialize or spend time alone. Adhering to The Sheraton brand concept, Zhaoqing Sheraton incorporates many of the brand's new signature elements, including a shared community table, that is compatible with form and function, it was designed for guests to work efficiently, and for flexible meeting space for team members to collaborate in a relaxed atmosphere. Add vitality to the entire public space, as well as small meetings and private dining. The hotel also has 3 original restaurants and a specialty bar, serving a range of local and international cuisines, that can let the guests enjoy the wonderful environment while focusing on their work.

Why did you enter this project into the SBID Awards?

SBID AWARDS is one of World's most prestigious and influential design awards, which honors excellence and provide global recognition.

Questions answered by Bo Liu and Hank Xia, Founder & Chairman and Director, PLD.

This week’s instalment of the Project of the Week series features a renovated vibrant hotel design by 2022 SBID Awards Finalist, Hirsch Bedner Associates.

Canopy by Hilton Hotel in Qujiang Xi’an conveys the splendid leisure and carnival entertainment of the prosperous Tang Dynasty.

The central premise of the design stems from the Chinese idiom 鲜衣怒马 xiānyī nùmǎ, which loosely translates to “wearing beautiful garments and riding powerful horses”. With this concept in mind, the interiors celebrate the vibrant fashion and design of the prosperous Tang Dynasty that for centuries has been integrated into the spiritual language of Xi’an’s neighborhoods, and now blends exquisitely with the opulent aesthetics of the Canopy brand.

The xiānyī nùmǎ motif is unraveled throughout the hotel style through the use of joyful colors and patterns inspired by Tang-era fabrics and artwork. By fusing the ancient with the modern to create a unique design story, the hotel creates a fresh perspective on historical elements, allowing people to enjoy traditional culture in a rejuvenated, vibrant, and fun way.

What was the client's brief? 

The initial brief received by clients was to bring the rich historical, traditional and cultural background of the place into the project renovation, and to align it to the hotel brand style and feeling.

Canopy by Hilton conveys the brand lifestyle that offers the guests comfort, thoughtful details, an energizing atmosphere and a uniquely local experience, as extension of the local neighbourhood.

Storytelling has been used to design the hotel allowing guest to discover the delightful neighbourhood as an ‘explorer’, and reinterpreting the traditional design language for modern appreciation.

What inspired the design of the project?

Canopy by Hilton Xi’an is located in the Qujiang New District, a new cultural hub and economic center of the historic city. The hotel is connected to the Grand Tang Mall, a fabulous pedestrian street with myriad cultural sights and recreational activities.

The central premise of the design stems from the Chinese idiom “鲜衣怒马 xiānyī nùmǎ”, which loosely translates to “wearing beautiful garments and riding powerful horses”. With this concept in mind, the design team set out to celebrate the vibrant fashion and design of the prosperous Tang Dynasty that for centuries has been integrated into the spiritual language of Xi’an’s neighborhoods, and now blends exquisitely with the opulent aesthetics of the Canopy brand.

The xiānyī nùmǎ motif is unraveled throughout the hotel style through the use of joyful colors and patterns inspired by Tang-era fabrics and artwork. By fusing the ancient with the modern to create a unique design story, the hotel creates a fresh perspective on historical elements, allowing people to enjoy traditional culture in a rejuvenated, vibrant, and fun way.

By adopting the easy-going lifestyle of Xi’an and the cultural elements of the city’s historic legacy, the hotel acts as an extension of the local neighborhood.

What was the toughest hurdle your team overcame during the project?

As most of the projects, the team had to deal with a tight timeline on redesigning the whole hotel without compromising the construction programme.

What was your team’s highlight of the project?

Canopy by Hilton Xi’an conveys the splendid leisure and carnival entertainment of the prosperous Tang Dynasty.

The hotel creates a new perspective that allows people to reveal the traditional culture in a way that is vibrant, fun and young, it adopts the easy-going Xi’an characteristic that enhance the vibe of the area it resides in.

When guests check in at the arrival lobby, they are surrounded by artwork that tells the story of stylishly dressed ancestors taking a leisurely stroll through the neighborhood. The wooden roof and the reception canopy are accented with brass details, evoking a sense of prosperity and opulence of the city’s ancient East and West markets.

Every Canopy by Hilton is built around the Canopy Central atrium, which acts as the hub of the hotel’s main public areas. The different spaces flow naturally into one another through the use of a flexible design plan so that all of the public spaces are welcoming and adaptable to guests' needs. The use of a consistent design language and ample natural light creates a sense of unison as guests move from the reception area to the bar to the lounge and the multifunction areas.

The IN TOWN Café features a delectable éclair LAB where signature eclairs are decorated to-order in front of the guests. The design draws on elements from the Shangsi Festival, when royals, literati, and commoners alike would travel to the Qujiang area to enjoy a pageant of music, song, and dance. To reflect the joyful mood of the festival, the café makes ample use of bold colors accented by brass metal details and detailed vibrant Tang-era patterns in the artwork. The wall behind the éclair LAB is adorned with a mural depicting contemporary illustrations of colorful tea and coffee cups against a backdrop of Tang Dynasty buildings in the style of a traditional Chinese painting.

The Restaurant Ambrosia is designed in an unapologetically bold and eccentric style, has a nostalgic feel with a nod to ancient traditional elements cleverly integrated into the contemporary interior design. This creates the explorable vibe and flavor that will create memorable moments to their journey. One wall of the restaurant is adorned with a stunning mural depicting bustling scenes of work and leisure in the ancient capital, painted in a traditional Tang Dynasty style.

Why did you enter this project into the SBID Awards?

The SBID International Design Awards are a prestigious recognition of excellence within the interior design industry across products, interiors and fit out.

Over a decade on, the Awards has firmly established itself as one of the most prestigious interior design Awards in the global design calendar. It represents the outstanding industry achievements and top quality design services that continue to inspire the profession.

Questions answered by Flavio Patino, Associate, HBA Hong Kong.

This week’s instalment of the Project of the Week series features a fun and colourful youth centre design by 2022 SBID Awards Finalist, Fogarty Finger.

New Heights, the basketball-based after-school academic program for children in fourth through twelfth grade, has its new permanent home in the Bedford-Union Armory, now known as the Major R. Owens Health and Wellness Center in Crown Heights, Brooklyn. New Heights is the anchor tenant of this massive armory that was long vacant and is now reimagined and restored as a community resource for the Crown Heights neighborhood and beyond.

Partnering with New Heights, Fogarty Finger, a key player in the renaissance of residential and office construction in Brooklyn, volunteered to develop the interiors, signage, and branding elements behind the non-profit’s new home. Together their goal was to make a dynamic visual environment inspiring the youth of the city to feel hopeful, encouraged, and courageous.

The Fogarty Finger team set out to immerse themselves in the rich and vibrant historic Crown Heights neighborhood and surrounding area of Brooklyn, tapping local makers and artists to bring the space to life. Renowned and local artist Efdot painted an expansive hallway mural in the student lounge that tells the story of New Heights’ journey to its new forever home in Brooklyn, while a series of fireplace murals were painted by Brooklyn-based artists Peach Tao, Dek, and Stephanie Costello.

The result is a vibrant space that conveys a strong sense of place and inspires the community’s next generation.  This new home feels unmistakably New Heights, celebrates the architecture of the Armory, and acknowledges the diversity of the neighborhood.

What was the client's brief? 

Partnering with New Heights, Fogarty Finger was asked to develop the interiors, signage, and branding elements behind the non-profit’s new home within the Bedford-Union Armory. Their design goal was to make the space a dynamic visual environment that would inspire student-athletes and staff alike. The program consists of reception, student lounge, classrooms, library, pantry, administration wing, staff offices, and boardroom.

What inspired the design of the project?

The main design inspiration for New Heights Youth Inc. was creating a space to “Inspire Ascension” – as soon as the student-athletes walked through the doors and up the stairs into their new home, Fogarty Finger wanted them to feel empowered to be their best selves and know that this is a space where they are supported.

The design team initially asked themselves how the branding could engage with the existing historic architecture to communicate the idea of reaching new levels of success in the classroom, on the court, and in everyday life. The use of gradients in some of the added design elements (entry wall, donor wall, and the tiers of the pennant installation) pair with the existing architectural details throughout the space – all which draw the eye upward + create the feeling of ascension.

Fogarty Finger held monthly check-ins before and during the design process to ensure the space would resonate deeply with those who made New Heights the program that it is today. The meetings included parents, students, alumni, and coaches to get a better sense of what kind of space they wanted and how to truly make it feel like home. Taking the time to listen and understand how the community wanted the space to feel was a major inspiration for the design team throughout this project.

What was the toughest hurdle your team overcame during the project?

The New Heights organization was a very unique client for Fogarty Finger, being a non-profit company with a variety of stakeholders. The space needed to appeal to a variety of users and serve for many different functions—a place where student-athletes feel comfortable to learn, is practical for the daily needs of teachers and coaches, and impresses and inspires potential investors. During the design process, there were many key players involved, and the design team wanted to ensure that everyone felt heard and valued. This is something Fogarty Finger prides themselves on with office and commercial spaces, and the New Heights project was a welcomed challenge to the norm.

What was your team’s highlight of the project?

Fogarty Finger wanted to honor the history of the Bedford Union Armory by recreating some of the original gilded signage techniques found throughout the space. This technique was a key design element implemented when the building was constructed in 1903.The design team wanted to ensure this signage technique was featured in a fresh way within the new signage and branding scope of the project.

To keep that story alive for those experiencing the space today, Noble Signs, a local hand-painted signage company, was a perfect fit. Noble Signs was an amazing partner that allowed New Heights’ new home to honor the architectural history of the Armory building while allowing Fogarty Finger the opportunity to support local businesses and craftsmen.

Why did you enter this project into the SBID Awards?

Fogarty Finger entered the SBID Awards to showcase our interior design and collaboration work on the New Heights Youth project. All of the collaborations were done with local makers and artists based in Brooklyn to pull in the surrounding community as much as possible. Creating such a vibrant space that allows for people to come together was such an exciting and rewarding opportunity.

Image credits: Connie Zhou

Questions answered by Taylor Fleming, Interior Designer, Fogarty Finger.