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FrameFrame

Frame May - June 2018

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
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6 Utgaver

I DENNE UTGAVEN

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more than a mag

NOT JUST THE umpteenth design competition. A promise we made before launching the Frame Awards last year. In the meantime, the results are in. The first edition of the awards culminated in February, when we presented 32 prizes to an extremely international gathering of creative talent. All the winners are in this issue, along with reactions from our esteemed jury of industry leaders. The conclusions we’ve drawn from the winning work provide a basis for their cautious extrapolation into the future. So far, nothing particularly earthshaking. And yet I don’t mind sticking my neck out to say that the Frame Awards represent more than just another prize festival. Our ambitions go far beyond the ordinary. We started Frame magazine as a platform for interior design. The need to do so emerged…

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contributors

Originally from the UK, JANE SZITA is a journalist, writer and editor who has lived in Amsterdam since arriving in the city to work for Electric Word magazine, the forerunner of Wired. Focusing on the world of culture in its broadest sense, she covers design, art, architecture, travel, science, technology and more – for a wide variety of media, with credits in such prestigious publications as The Sunday Times, Vogue UK, Conde Nast Traveller, Wired, Dwell and Travel & Leisure. Szita has written and edited several books, among which Malkit Shoshan’s award-winning Atlas of the Conflict. She is the cofounder of creative collective Creatures of Content. For this issue, she interviewed Muuto's CEO and head of design (see page 188). Based in Amsterdam, DAVID KEUNING obtained an MSc in architecture from…

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hi-tech health aids record user data – and respond accordingly

TECHNOLOGY – The growing global interest in wellness has instigated the development of health-related items that monitor the user’s physical condition every second of the day. Activity trackers, such as the popular Fitbit, gave rise to a more holistic approach to fitness, defining it as ‘the sum of life’ and not just time spent at the gym. Today’s wellness aids continue this line of thought and address a diversity of bodily functions – from sleep to brain elasticity – while promising to enhance our overall wellbeing. Developed by FUSEPROJECT in collaboration with L’ORÉAL’s Technology Incubator, UV Sense combines nail art with cutting-edge technology. Making skin-health data accessible to consumers, the tiny battery-free UV wearable – designed to be attached to the thumbnail – contains a sensor, a capacitor and an antenna.…

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inclusive designs that transmit haptic cues are a boon to the visually disabled

TOOLS – Ours is a visual world. From the built environment to the products and technology we engage with daily, everything around us is designed, more often than not, with vision as a given and aimed at pleasing the eye. However, for a large part of the population dealing with blindness or visual impairments – no fewer than 250 million people worldwide – good-looking products are of little or no use. To overcome the physical and mental barriers that hinder their lives – and to feel included – visually challenged people need products that provide them with sensory feedback and tactile cues. Designers responding to their requirements try to stimulate the remaining senses with the help of assistive technology or analogue methods. The goal is to balance a pleasing aesthetic…

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prada invites architects and product designers to venture into fashion

FASHION – The worlds of fashion and (interior) architecture regularly collide on the pages of Frame. From retail environments and catwalk configurations to the occasional branded exhibition, today’s spatial designs are often the work of established designers and architects. The clothes that form the focal point of such settings are rarely ‘touched’, however, by anyone other than the high-fashion couturiers who are, in turn, increasingly applying building techniques and industrial materials to the garments they ‘construct’. Iris van Herpen, for example, uses a 3D printer to make dresses, while aerospace materials currently inform performance wear. Perhaps the biggest advocate of a more cross-disciplinary approach to fashion is Italian label PRADA, whose go-to guy is none other than architect REM KOOLHAAS, cofounder of OMA. Previous commissions by Koolhaas and OMA for the…

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true blue or phony baloney – can an imitation outshine the real deal?

SURFACES – From fake leather with the look and feel of real animal skin to laminates that resemble hardwood and quarried stone, man-made simulations of natural materials are everywhere. Scarcity, moral issues and costs are behind the production of sustainable and convincing alternatives that are used for a plethora of purposes. Most counterfeits are out to mimic an original material in detail, but – in the same way that many people question the paradoxical concept of ‘vegetarian meat’ – it’s fair to ask why newly developed synthetic substitutes aimed at product and interior design would want to mock what’s already on the market. A new generation of designers is playing with consumers’ perceptions and expectations of materials whose surfaces have the visual features of one thing and the physical characteristics…

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