RVD Associates & HBA Balances Classic Glamour with Modern Sensibility

This week’s instalment of the Project of the Week series features a glamorous hotel design by 2025 SBID Awards Finalists, RVD Associates & HBA.

A 1926 Southern California landmark emerges anew in Downtown Long Beach as RVD Associates and HBA San Francisco announces the transformative completion of Fairmont Breakers Long Beach. With a vision championed by developer Pacific6 Enterprises and designed in collaboration with Eden For Your World, the restoration of the 185-room hotel gracefully balances classic glamour with modern sensibility, setting a new standard for luxury hospitality within the city. Stories from the hotel’s opulent past unfold upon arrival at the newly restored entrance, where Renaissance Revival-style architecture pays homage to the original work of architects Walker & Eisen.

What was the client's brief?

The client’s brief was very much in alignment with our vision. Together, we were inspired by the idea of honoring the beauty of the 1920s Spanish Revival architecture while reimagining the building for a new era. The goal was to restore its former grandeur while thoughtfully introducing modern elements that breathe new life into the property.

What inspired the design of the project?

The design was inspired by the building’s rich history and the golden era of Hollywood. We wanted to honor its legacy while introducing a sense of timeless elegance that feels fresh and contemporary. The original period details provided a canvas that encouraged us to layer in refined, modern touches, creating a dialogue between past and present. Our palette drew from the ever-changing hues of the ocean—airy blues and crisp whites welcome guests in the lobby, gradually deepening into rich indigos and sapphires at the Sky Lounge, where the views connect seamlessly with the sea beyond. We also collaborated with local artisans to create truly bespoke elements, such as the custom Robert Crowder wallcovering in La Sala. RVD is proud to have helped re-polish this architectural jewel, breathing new life into ‘The Breakers’ while celebrating its storied past.

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

The Fairmont Breakers is a magnificent historic building, and with that came plenty of quirks and nuances. One of the toughest challenges was working with the guest rooms, each of which presented different conditions and configurations. Our team had to thoughtfully design for this variety while maintaining a cohesive aesthetic and guest experience throughout the property.

What was your team’s highlight of the project?

For us, the highlight was the ability to craft a variety of experiences throughout the property. From the moment guests arrive in the light-filled lobby to the more intimate settings of the dining and lounge areas, each space offers its own distinct atmosphere while still feeling connected to the larger story of the Breakers. Designing this layered journey allowed us to honour the building’s history while giving guests a series of moments that feel both unique and cohesive. Creating that spectrum of experiences—each with its own personality yet tied together by a timeless design narrative—was one of the most rewarding aspects of the project.

Why did you enter the SBID Awards?

We have always admired the work that SBID showcases and the calibre of projects they feature on a global stage. Entering the SBID Awards felt like a meaningful opportunity to share the story of the Fairmont Breakers, a project we’re truly proud of. To be recognized among such an esteemed group of designers is an honour in itself, and we are grateful to have been selected.

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

Being named an Award Finalist has been an incredible honour for our team. It’s a wonderful opportunity to showcase our work on an international stage and to celebrate the craft, creativity, and collaboration that went into the Fairmont Breakers. We feel fortunate to do what we love for such inspiring clients, and even more rewarding is knowing that guests will experience these spaces in ways that are memorable and transformative. This recognition affirms our passion for design and motivates us to continue raising the bar in our work.

Questions answered by Rodrigo Vargas, Principal of RVD Associates.

This week’s instalment of the Project of the Week series features a calm boutique hotel design by 2025 SBID Awards Finalist, Susanna Cots.

Les Clarisses is a boutique hotel in Vic, designed by Susanna Cots, blending the peaceful legacy of an ancient convent with modern elegance. The project preserves the building’s historic integrity while integrating organic materials like wood and stone to create a tranquil atmosphere. Soft, flowing shapes, bespoke furniture, and natural light invite guests to experience mindfulness and luxury. Original architectural elements, such as stone vaults and pillars, merge seamlessly with contemporary design, maintaining the convent’s serene spirit. Les Clarisses is not just a hotel but a restorative space where history and modernity coexist to offer a unique experience.

What was the client's brief?

The client had a clear and poetic vision: to transform a former convent into a boutique hotel where silence would not only be respected but become the soul of the project. A place of calm, light, and contemplation — where every detail invites pause and wellbeing.

What inspired the design of the project?

Silence was our greatest inspiration — not as absence, but as presence. Natural light guided us as a narrative thread to shape each space. And, of course, the architectural essence of the original convent, which we wanted to preserve and reinterpret with emotion and deep respect.

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

The main challenge was to find the balance between historical memory and contemporary function. We were working with a building full of emotional and symbolic weight, and our task was to reinterpret it without betraying it. Managing natural light within such an ancient structure also required precision and sensitivity.

What was your team’s highlight of the project?

The moment we saw light flow naturally into the reimagined spaces for the first time. That instant when everything aligns, when the design disappears and only peace remains. Also very special were the first impressions from the guests — when they connected with the space through silence.

Why did you enter the SBID Awards?

For us, silence is not the absence of sound — it is a design principle. We wanted to share this vision with an international community that values subtlety, emotion, and depth in interior design. We’ve been part of the SBID community for many years, and for us, it feels almost like a responsibility — and an honour — to showcase our work through such a respected platform.

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

It’s a recognition that touches us deeply — especially in the year we celebrate our 25th anniversary. To be shortlisted with such a symbolic project as Les Clarisses reaffirms our belief that beauty, when born from stillness and respect, can resonate far beyond borders.

Questions answered by Susanna Cots, Founder of Susanna Cots.

This week’s instalment of the Project of the Week series features an understated luxury hotel lobby design by 2025 SBID Awards Finalist, IQOSA.

A lobby that feels less like a public space — and more like the first chapter of home. Designed by IQOSA for THE ONE in Kyiv, this interior balances timeless materials with thoughtful zoning and sculptural light. Travertine, soft contours, and tactile furnishings create an atmosphere of quiet confidence. No excess — only purpose. A refined space that welcomes, grounds, and leaves a lasting impression without trying too hard.

What was the client's brief?

“Make it feel like checking into a five-star hotel – only now, it’s your home.” That was the tone from day one. The space needed to welcome, wow, and whisper luxury at every corner. High-end materials, seamless flow, thoughtful zoning – but no clichés. We had to find a balance between impressive and personal, between comfort and statement. And yes, it had to look like money – but feel like home.

What inspired the design of the project?

Honestly? The idea that luxury doesn’t have to shout. We looked at materials that age beautifully – travertine, warm bronze, soft glass – and imagined how they could shape a space that whispers rather than announces. Also, we loved the idea of the chandelier feeling like sculpture. A quiet statement piece that kind of says, “You’ve arrived.”

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

Hiding all the technical stuff! (Laughs.) We had to incorporate biometric access, a full concierge back-office, soundproofing, ventilation – all inside what looks like a gallery. No visible cameras, no clutter, no mess. The cleaner the space looks, the more work is hidden behind it.

What was your team’s highlight of the project?

We’ll let you know when the first person steps into the finished lobby and forgets what they came for – that’s when we’ll know it works.

But if we had to pick a moment during the process: finalizing the chandelier design and how it will catch natural light. It’s one of those rare elements that’s sculptural, technical, and poetic all at once. We’re counting down the days to see it glow in real life.

Why did you enter the SBID Awards?

Because we love what SBID stands for: intelligent design, not just decorative design. This project wasn’t about trends – it was about feeling. We wanted to share that with a wider audience.

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

Let’s be honest – it’s a great moment for the team. We obsess over every tiny detail, over hidden screws, over which travertine slab to use... and now the world gets to see that obsession in the spotlight. It’s motivating. It also tells future clients: “Yes, this team can handle your high expectations.”

Questions answered by Mykyta Riazhko, Lead Designer at IQOSA.

This week’s instalment of the Project of the Week series features a lavish exhibition design by 2023 SBID Awards Finalist, Metropolitan Space Art Design.

Future Times Chunquan Culture and Art Center conceives its spatial form from the spring, which is rich in the cultural context of the urban landscape, creating a space that not only serves as an exhibition space, but also provides the viewer with a pure architectural force and aesthetic. The space is thus different from the everyday spatial scale and viewing style, allowing the visual experience and exhibits to be interwoven into a unique cultural memory, providing a richer connotation of the site.

What was the client's brief? 

Shenzhen Metro Real Estate Group Co., LTD. (hereinafter referred to as "Shenzhen Metro Real Estate"), a wholly owned subsidiary of Shenzhen Metro Group, is an important link in the group's "four-in-one" industrial chain of rail construction, rail operation, property development and asset management. It shoulders the historical responsibility of comprehensive development of land along the rail transit line and feeding back the construction and operation of rail transit. We have explored and formed the leading "track + property" model in China and accumulated more than ten years of comprehensive development experience in track cover. Project leaders of this project from Shenzhen Metro Real Estate: Zheng Yongkai, Zhao Lijing, Liu Feifan and Lin Ang.

What inspired the design of the project?

We take "Circle Garden" as the design inspiration. With the infinite circulation and eternal upward spirit of the "Möbius strip" throughout the design, we connect the integrate harmony of the building, the figures of hallway and corridors, with the eternal upward spirit of Shenzhen Metro Real Estate; we link the nature, spirit, architecture, landscape, interior and creatively design a carrier, a new order of space philosophy without boundaries.

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

This project is completed by reconstruction of an old building. The overall building spaces and facades are three-dimensional and irregularly shaped. The building curtain wall and the ring corridor space leakage is serious. In the process of this design, each floor space is shaped by the irregular oval of the building, presenting different semi-open and enclosed spaces. Each wall is curved or three-dimensional in response to the architecture itself. For the decorative materials of the interior space, to ensure the overall continuity of the space, we have done a lot of material research. For example, for the large area of art paint on the second floor, we use gradual change, flying sand, pull pattern and other comprehensive manual finishing treatment, so that the space is complete and at the same time we can see changes in the texture of details. The expression of the seam relationship between the material and details of the large-area curved wall is almost the biggest obstacle of the whole project.

What was your team’s highlight of the project?

The most outstanding aspect of the team of the project is that the creative process of the whole design solution was very smooth. Including the plan function logic, space rhythm, furniture, lighting & artwork and other steps, the whole process was very coherent, as well as the construction of the project. Specialised designers were on site every day to guide the details, and the seamless connections between different sections of staff was very close. Even in the very limited time, the team members united and cooperated sincerely, and finally completed the whole project very well.

Why did you enter the SBID Awards?

The SBID International Design Awards have become one of the most prestigious interior design awards in the global design community. Our whole team is very young and energetic, and we need more encouragement and support for the design path we are currently exploring.

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

Both my company and I feel very fortunate and honoured to be a finalist and hope to receive the SBID International Design Award Crystal Trophy at the annual awards ceremony. Because it represents a unique opportunity to connect, celebrate and showcase my company with a professional audience of professional peers, potential business partners and potential customers. At the same time, it will inspire our young team to move forward and contribute more and better design expressions to the world.

Questions answered by Li Dai, Design Director of the project at Metropolitan Space Art Design.

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.