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Frame

Frame January - February 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.

Land:
Netherlands
Språk:
English
Utgiver:
Frame Publishers
Hyppighet:
Bimonthly
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2 min.
cool, calm and collective

Stress in the workplace is on the rise. Now that most of us can work anytime, anywhere thanks to smartphones and laptops, we’re also expected to be up and running constantly, regardless of where we are – and to work faster and more efficiently to boot. Alarming news about stress dominated the media in the Netherlands while we were making this issue. No less than 17.3 per cent of the Dutch workforce – 1.3 million people – suffers from severe symptoms of burnout, a modern phenomenon that affects those between the ages of 25 and 34 in particular. In 2018 the economic damage to employers amounted to €2.8 billion in the Netherlands alone. On a global scale, the impact is dramatic and the damage incalculable. Enough reason, we felt, to dedicate…

3 min.
sydney

At a prestigious award ceremony in Sydney earlier this year, one well-known designer turned up in a dress-shirt emblazoned with the words: ‘Counterfeit Protection Statement.’ Nothing too unusual about that, you might think – most creatives are driven to ensure the integrity of their output. Except that said awards ceremony was held in a showroom sporting knockoffs of his signature lighting. In design terms it was akin to Katharine Hamnett wearing a ‘58% Don’t Want Pershing’ T-shirt to meet Margaret Thatcher during the missile testing controversy in the mid-1980s. The Australian design industry is under attack from counterfeiters. While intellectual property (IP) laws automatically protect original work in the fields of literature, music and film, copyists can happily fake furniture, lighting and household accessories with impunity. Unlike the arts, industrial design…

3 min.
mexico city

In October, the theme of this year’s Abierto Mexicano de Diseño was ‘Lo popular’ (‘the popular’). Online, the event’s curator, Mario Ballesteros (also the director of the city’s Archivo Design and Architecture Gallery), explored the idea of ‘popular design’. Does it mean accessible design? Or design that rejects the ‘designer’ and instead comes from the street? Or, echoing the sentiment of popular art, is it a ‘complete universe of indigenous production and material culture emanating from the people’? Right now, the Mexican design community seems concerned with shaking off design’s elitist connotations and proving that it is for everyone. Over the last few years, there have been a slew of businesses, sometimes positioned as social enterprises, working with artisans to reconcile traditional crafts, techniques and forms with a contemporary design aesthetic.…

3 min.
1 what wework’s stumble means for the design of co-working spaces

WeWork represents one-third of all flexible office space in the US according to CBRE, while an analysis by Jones Lang LaSalle Inc. indicates that it is the biggest private-sector tenant in London, New York City and Washington. Competitors will be looking to learn from the company’s recent 83 per cent decline in value following its aborted IPO. And while the majority of these are tied to the overall business strategy, they extend to how WeWork outfitted its property portfolio. ‘Experiences, amenities, aesthetics – that is important to a certain point,’ Julie Whelan, head of occupier research at real estate services firm CBRE, told Recode. ‘But what’s really driving people to the space is flexibility, speed to market, and capital deferral.’ This is particularly true now that growth in the sector is…

2 min.
2 how integrating hospitality can help make retailers more resilient

Twelve months to the date, department store chain Lord & Taylor closed its flagship on Fifth Avenue after more than 100 years in business. As we reported in the last issue, that property has now been sold to eCommerce brand Le Tote. Then in August, rival Barneys filed for bankruptcy and in October announced that all of its locations were likely to cease trading. In short, most legacy department store operators are calling time. Apart from the Nordstrom family, that is, which has just cut the ribbon on a 320,000-square-foot (30,000-m2) venue covering the first seven floors of one of New York’s premier pieces of real estate, Central Park Tower, the tallest of the new generation of super-tall residential developments dominating the centre of Manhattan. How will this store succeed where…

3 min.
3 will vertical farms become central to food retail and restaurant interiors?

Various forms of technology-enabled indoor farming have been around for well over a decade. The start-up sector really got hold of the idea at the beginning of the noughties, with global investment then surging from under $50 million to close to $300 million between 2016 and 2017 according to research by Agfunder. Most early implementations have thus far been back of house, at industrial grow sites that serve local grocery operations or in restaurant kitchens. That now seems to be changing, with various forms of vertical-farm infrastructure being employed in customer-facing contexts across the retail and hospitality industries. At the start of 2019, British department store brand John Lewis announced that it was exploring the possibility of integrating vertical farm modules into its Waitrose supermarket chain stores in collaboration with agri-tech…