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Frame

Frame

November - December 2020

Frame is a bi-monthly magazine dedicated to the design of interiors and products. It offers a stunning, global selection of shops, hospitality venues, workplaces, exhibitions and residences on more than 224 pages. Well-written articles accompanied by a wealth of high-quality photographs, sketches and drawings make the magazine an indispensable source of inspiration for designers as well as for all those involved in other creative disciplines.

국가:
Netherlands
언어:
English
출판사:
Frame Publishers
빈도:
Bimonthly
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₩34,847
6 발행호

이번 호 내용

2
learning, the hard way

I have children of different ages, two at home and two who live independently. Their world has changed dramatically over the past six months, and not exactly for the better. I’m not talking about the fact that their nightlife and social life has largely come to a standstill, let’s leave that aside for the moment. I’m talking purely about education here. Let’s start with the oldest two, one of whom finished her university studies in July. That was after six months of house arrest: she was no longer welcome at the company where she was following an internship to complete her graduation project. So she spent week after week in her student house, on Zoom or staring at the walls, in search of connection and inspiration. If the pandemic has made…

3
3 why the turn towards fulfilment is overwhelming retail space

In a time of accelerating consumer demands, e-commerce has a logistics problem. Nearly half of shoppers are more likely to buy online if same-day delivery is an option, according to Accenture, while 77 per cent of under 30s make it a key priority. Global supply networks are fairly adept at coping with this need for now, right up to the ‘last mile’ – the point at which your package leaves the mass-transit super highway that leads to national distribution centres and has to navigate the slow and complex B roads that take it that final step to your door. As a result, last-mile delivery is expensive, contributing 41 per cent of total logistics costs, and highly polluting, with the World Economic Forum forecasting that it will result in a 32…

11
introducing

From a stool made of discarded materials sourced at a Thai Buddhist temple that produces rockets for the flying cylinders festival, to a 59.55-kg table representative of the amount of asphalt produced each second in Spain: the raw works of Spanish designer and self-proclaimed ‘crafts traveller’ Lucas Muñoz are firmly rooted in their local context. And that context is diverse. After his education took him from Madrid to London to Eindhoven, his creative practice led him through China, India, Thailand and beyond. But wherever Muñoz lands, he embeds himself in the sociocultural environment and works with what – and who – is at hand, addressing consumption and production issues while at it. You divide your time between Eindhoven, the Netherlands, and Madrid, Spain. What’s the difference between both locations when it…

9
influencer

After studying fashion design in her native New Delhi and interning at Ikea, Akanksha Deo Sharma was hired onto the Swedish company’s internal design team four years ago – at that point, barely halfway through her twenties. She was one of the minds behind Förändring, a 2018 Ikea collection that, motivated to reduce air pollutants in global crop-burning regions, explored the use of rice straw as a raw material. As a rising advocate for democratic design, the designer uses her role to emphasize the importance of social and environmental sustainability. New Delhi and India as a whole have been hit very hard by the pandemic. How has it affected you? AKANKSHA DEO SHARMA: My job pre-Covid of course involved going to the satellite office here in Delhi, but it was much more…

11
what i’ve learned

MÓNICA PONCE DE LEÓN: I grew up in Venezuela, surrounded by cutting-edge public buildings that were tied to community identity. We Venezuelans knew the names of the architects who designed them, that they were important, that they were creating a language of expression that was uniquely ours. A language that responded to our climate, our customs, our history. We all knew the name Carlos Raúl Villanueva, and that his design for the public Central University in Caracas was unequivocally Venezuelan. Discussing materials and construction techniques – new and old – was part of our culture. During career day in high school, I saw a recent graduate’s presentation about architecture as a profession. He showed us images of Banco Metropolitano by José Miguel Galia, a tiny building in Sabana Grande, one of…

6
the client

Strength in simplicity TAKAHIRO KINOSHITA: Once I took a closer look at Uniqlo’s products, I realized that they’re not only affordable and comfortable to wear but also incredibly well made with great attention to detail. Because Uniqlo’s designs are so basic, its ingenuity so subtle, not many people realize this – it’s a shame. In order to convey these quiet strengths, it’s important to develop a holistic strategy. That’s why my role crosses over into various divisions within Uniqlo. I oversee product planning and design, advertising, marketing, the installation of visual merchandising and store development, as well as directing the production of Uniqlo’s concept magazine called LifeWear. Data-driven retail At the core of Uniqlo lies a customer-centric approach to manufacturing. We’re not aiming to be a fashion brand, by which I mean one…