Frame içinde 2023 Special için içindekiler tablosu

What’s the state of interior design at the beginning of 2023? Which issues concern designers and their clients? How do they influence the way spaces and products are designed and used? You’ll find some answers while browsing the complete overview of winners of the FRAME Awards 2022, including highlights from the jury deliberations. These projects, realized between 2020 and 2022, show how designers have approached spaces and products in recent years. Our jury panels used four criteria – innovation, functionality, creativity and sustainability – to evaluate these entries. Finally, a selection of jury members discussed which projects deserved to win. The results show that the way we look at design is changing. Juror Larry Traxler, senior vice president of Hilton Hotels and Resorts’ global design services, summed it up this…

For jury member Hiba Alobaydi, managing editor at Archello, Fumihiko Sano Studio ticked all the boxes for Emerging Designer of the Year. ‘The studio demonstrates innovation, functionality, creativity and sustainability in spades,’ she said, admiring its ‘unwavering sense of integrity in the face of design challenges’. The eponymous Japanese studio was founded in 2011 by Fumihiko Sano, who began his career at Nakamura Souji Komuten in Kyoto as an apprentice of sukiya carpentry – a traditional craft passed down through generations. Throughout his portfolio – whose strong focus on hospitality is interspersed with the likes of residential, retail and installation projects – Sano bridges Japan’s past and present, reinvigorating extinct or endangered traditions. Alobaydi commended this approach. ‘The studio demonstrates a reverence for the past,’ she said, pointing to Tokiwa…

SHANGHAI Yijian Café stands on a street corner in Shanghai. It’s a 30-m2 wooden box that blurs the line between indoors and out, which our jury recognized as its winning characteristic. Golucci Interior Architects designed the bar to showcase the coffee-tasting experience. Shutter-like exterior panels and doors fold up to reveal a glass entrance – an aperture into the interior that showcases the barista in action – as well as small ledges that serve as seating. Jury member Anda Zota, editor in chief at Igloo Media, believes a good bar design is about accessibility. ‘Then you immediately know where to order, what to order and where to sit, because everything is clean and coherent and can be easily read by everybody.’ For Yijian Café, she believes, Golucci took accessibility further:…

The lines between our physical and digital realities are increasingly blurring. How might exhibition spaces do a better job of reflecting this shift? NATASHA GREENHALGH: There are so many phenomenal, creative possibilities when it comes to emerging technologies and new media. But I think it’s really important not to be seduced by this purely for the sake of it. We must think about how and why one would want to fuse the physical and digital in a space. Whether it’s for an exhibition or spatial design, I think that comes down to understanding what it means to be human. For instance, we have five main senses. Exhibitions should connect to and enhance those. After all, we are physical creatures. As exciting as digital worlds and technologies are, we still want…

TOKYO For a set design for Japanese dance, Nakamura Kazunobu Design-Works based its concept on the lotus, a sacred flower in Japan, and the mist that often surrounds its blooms at dawn. Using 3D modelling to determine the ideal arrangement, the designers assembled over 1,000 wooden rods to create a fog-like gradation of light, recalling the way caretakers of Japanese gardens prune trees to create a balance of density and sparseness. The rods were made of scraps generated while thinning Japanese cypress forests, a necessary forest management tool. The subtle, mist-like light that softly enveloped the dancer adopted the Japanese sense of spatial beauty described by Jun’ichirō Tanizaki in In Praise of Shadows – that the goal is not to design the form itself but to design the effect achieved…

You judged healthcare and governmental projects as a member of the FRAME Awards Institutions grand jury. What was your key takeaway from the submissions, discussions and deliberations? MARK RAGGATT: We were diverse in our opinions, which made for a productive exchange. In the end, it came down to realizing that architecture still has a critical role to play in helping to create identities for local communities. These are details that you might not perceive or understand on first inspection. Because you’re looking at a project with a professional lens, it’s sometimes harder to understand it on a more intimate level. Architects need to forge close relationships with different stakeholders. The top submissions demonstrated this consideration. A lot of them centred on the idea of taking a problem and reframing it.…

THE HAGUE Governmental buildings can send a strong political message. Do they stand for transparency and democracy – or the opposite? Are they future-oriented and optimistic or backwards-looking and nostalgic? These questions popped up during jury deliberations for Governmental Interior of the Year, a title eventually bestowed on the House of Representatives in the Netherlands. Zecc Architecten was tasked with designing an interim solution while the historical Binnenhof parliament complex in The Hague undergoes extensive renovations in the coming years. To reconcile the conflicting values of accessibility and security in one space, the designers added a public entrance to the existing building. They reused or replicated familiar elements from the Binnenhof complex to make employees and visitors feel at home, whether they be literal features like the distinctive escalators, or…

Understanding that co-creation and agility are key drivers in the modern workplace, Design for Human Nature developed a system of furniture called Scope that’s modular, movable, customizable and durable. Infinitely scalable, Scope comprises various modules – the central Roundtable; the mobile Bench-Desk, a seat-slash-standing table that can combine to form spatial dividers; and the Transformation-Wall, an ergonomically adjustable single or double desk whose add-ons can transform it into a mobile partition, monitor wall, shelf, blackboard, coat rack or plant box. While praising the system’s maturity, user-oriented design, and marriage of functionality and adaptability, our jury unanimously agreed it could benefit from a more colourful palette. Made from hard-wearing, recyclable materials, the modules have separable components to allow for easy repairs and upgrades – a factor that appealed to Esin Karliova,…

‘Using one colour is like yes and no – it’s not that interesting’India Mahdavi We bestowed this year’s Lifetime Achievement Award on Paris-based Iranian-Egyptian designer India Mahdavi for her acute and sensitive use of colour, a skill that has inspired a more joyous, human-centric approach to spatial design worldwide. At heart, hers is an intuitive process, guided by her multicultural background – she was born in Tehran in 1962 and spent time in the US, Germany and France as a child before settling in the latter. Mahdavi has earned her title as the undisputed Queen of Colour, honing her mastery of hue to the highest degree and creating some of the most visually recognizable spaces of our time. It took Mahdavi a month to decide on the rosy pink that…

CHENGDU (So)What in the Chinese city of Chengdu was lauded by our jury for its rich and agile storytelling. Designed by Various Associates, the 415-m2 space is distributed across two storeys. Each features a central suspended laminated ceiling panel – which can rotate 180º and move vertically – that acts as a projection screen, displaying shifting images and graphics. The ability to alter the digital content to reflect the store’s rotating roster of fashion brands negates the need for new material-intensive product and window displays each month. Jury member Ricardo Seola, creative director of his eponymous studio and photography professor at NABA Milan, appreciated that the introduction of technology wasn’t just an aesthetic choice but improves the experience. ‘The panels add a great layer of mood flexibility to the design,’…

Described as a ‘state-of-the-art experience centre’, the latest Leolux site is more than a showroom. Its champagne-coloured façade, complete with slanted blades that cause the exterior of the building to morph as you drive by, makes it a striking landmark visible from the A2 motorway near Breukelen in the Randstad region of the Netherlands. Opened late last year, the almost 3,500-m2 destination replaces two smaller showrooms previously located in Eindhoven and Utrecht, and provides a new and more conveniently placed Dutch home for the family of Leolux Furniture Group brands – Leolux, Pode, Évidence and Leolux LX. It’s immediately apparent upon arrival that here, experience comes first. In the hospitality area at the entrance, visitors are greeted with a taste of Leolux’s story. As hospitality staff serve cups of coffee,…

SHANGHAI To help designer brands from around the world present themselves in a more diverse and multisensory way, F.O.G. Architecture created a 300-m2 ‘soft forest’ for HCH at Shanghai Fashion Week. Swathes of fabric contrasted with the stark event space, creating a labyrinthine stand that invited exploration and immersion. The designers also referred to the intimate relationship between the human body and garments, intentionally enveloping visitors in the space as if wrapping them in clothing. Various winning aspects of the stand were noted during jury deliberations, from its ‘sensory experience’ (Sabine Krieg, deputy professor of retail design at the University of Applied Sciences Düsseldorf) to how it ‘takes full advantage of the ceiling height’ and is ‘easy to build’ (Zhuo Tan, event director at Design Shanghai) to the way ‘products…

What was your key takeaway from the FRAME Awards projects, discussions and deliberations in relation to living? VIVIANE STAPPMANNS: When listening to the accounts of my fellow jury members, what struck me most was that sustainability is still far from being the norm when it comes to hands-on design practice. In my own bubble, as a curator and academic, I’m deeply engaged in conversations about social and ecological sustainability in design and these topics seem so pertinent, so this was a surprise for me. Being part of the jury made me realize how much we need to continue promoting such critical topics, through initiatives such as these awards, to really shift the way design is practised and commissioned. What do you consider to be the most important development in the…

AMSTERDAM For Home Sanctuary, Barde VanVoltt transformed the oft-forgotten attic into a domestic retreat. Located in a typical Amsterdam canal house, the 60-m2 bathroom incorporates luxurious wellness facilities, such as a sauna, lounge and Jacuzzi. Our jury liked the use of natural materials – including wood, ceramic tiles, linen, marble and clay – as well as the clean yet interesting palette and attention to detail. ‘There are different kinds of materials but they all make one cohesive concept,’ said Bobby Fogel, CEO and founder of BFArchitecture. ‘And it’s very relaxing.’ Esin Karliova, founder and principal of Studio Karliova, was drawn to the ‘different scales and different shapes’ that ‘make your eyes move around’, and that the designers ‘thought about sightlines and natural light’. ‘They did a really good job.’ barde-vanvoltt.com…

JINHUA Mountain House in Mist is a social and reading space for local villagers in China’s Wuyi County near the city of Jinhua. Conceived by Shulin Architectural Design and built with local labour, materials and techniques, the non-profit public-welfare building features a wood-framed translucent façade and a patio that preserves the vernacular spiritual symbolism of such outdoor spaces. Shulin Architectural Design aimed to develop the 156-m2 venue in the ‘simplest, most familiar and local way’ to attract young adults and children to come and learn amid the mountains. ‘It brings something new to a small village,’ said jury member Michela Carla Falcone, architect, lecturer and curator of Experimental Architecture, commending the ‘use of materials and typical, recognizable geometry’. She also highlighted the building’s transparency, which makes it glow like a…

MINIFORMS BICE E-ggs designed the Bice chair for Miniforms. A rounded upper backrest and circular seat characterize its slim wooden frame. The chair is available in four wood finishes, so that it fits in a variety of workplace settings. miniforms.com IRIS CERAMICA BOTTEGA D’ARTE Literally translating as ‘art workshop’, Iris Ceramica’s Bottega D’Arte project combines traditional craftsmanship with modern technological expertise in the creation of refined red clay ceramic claddings. The manufacturer has achieved sustainability through innovation in its reinvention of a locally sourced material, maintaining the original charm of red clay in a contemporary tile that is available in five finishes. irisceramica.it SANTA & COLE VASO Conceived for Santa & Cole by London-based studio Industrial Facility, Vaso is a light installation that functions on its own or as a…

Which retail project struck you for its sustainability while judging the awards? VICTORIA STILES: The winning single-brand retail store, Kolon Sport in Jeju, South Korea [see p. 28] is all about embracing existing ecosystems. Jo Nagasaka/Schemata Architects incorporated local marine debris into the store’s fixtures to show how the brand can embrace sustainability and do good. Sustainable design solutions have been around for a while, but the exciting thing is that now retailers are willing to invest and make a difference. Why is sustainability top of mind now? Solutions are more readily available and lessons have been learned. Big businesses have led the way and now their findings are filtering down. Retailers aren’t as nervous anymore to go out and make changes. Moreover, consumers now have a huge say by…

SHENYANG One of the big differences between pop-ups and their longer-life counterparts concerns urgency. They must ‘create a stir in a really short period of time’, said jury member Sabine Krieg, deputy professor of retail design at the University of Applied Sciences Düsseldorf. ‘And a stir is much more than a visual impact.’ Alex Whitlow, research and strategy director at Quinine, agreed: ‘These are short-term moments where the ideas aren’t there to resonate over a long period of time and repeat visits. Often you need the message or story to be communicated simply and quickly to the customer in that one visit.’ Our jury found its winning project in the Fatface Coffee pop-up, where Baicai married the Chinese city of Shenyang’s love of beer to coffee culture. The designers utilized…

You served on the FRAME Awards grand jury for Restaurant and Hotel of the Year. What were the main takeaways from the process? LARRY TRAXLER: The stakes have ramped up significantly with respect to what good design is. We’re no longer just looking for beautiful spaces; when we talk about ‘good design’ the expectations are much higher from everyone involved, and spaces not only have to be fit for purpose, or well-conceived from a business and narrative perspective, but they must respond thoughtfully to environmental, social and cultural drivers, too. What are the standout recent developments in hospitality? Sustainability and the ESG message have continued to increase, but the biggest change we’ve seen is in the social behaviours of our guests. There’s a renewed focus on creating agile and flexible…

What’s been the most important development in the work sector in the past year? PHILIPPE PARÉ: A strong sense of empathy towards workplace users. Making sure we create workplaces that workers are excited to go back to, that make them feel refreshed, well and reconnected to the mission and values of the organization to which they belong. This is manifesting in some exciting micro-architecture developments. More than ever before, there’s this idea of using furniture to create and define different environments and support people’s various needs – think kits of parts and flexible furniture solutions. Previously everything was built-in and permanent. Now it’s much more agile. Does this align with what you encountered when judging the FRAME Awards? The projects that sparked a lot of discussion shared a restrained approach.…

SENDAI Designed in-house, Takt Project’s 160-m2 satellite office in Sendai, Japan, was envisioned to spark the imagination of its users, inspiring novel interactions among people, objects and space. The workspace – which also received the FRAME Award for Best Use of Material (see p. 118) – reinterprets natural materials and sustainable building methods and is greatly influenced by vernacular architecture, as illustrated by the likes of a bookshelf wall that adopts the construction of Japanese thatched roofs. Jury member Jaime Vélez, design partner of Velez+Valencia Arquitectura, felt that the designers fulfilled their goal beautifully: ‘It’s almost like “fill in the gap”. The space is so open and so flexible that you can create your own ethos in it.’ Other jurors saw a strong relationship between the concept and material use.…

GUANGZHOU ‘For me, it’s an architectural 10,’ said jury member Guillermo Blanco, founder and design director of Worldesignteam, when grading Utopia 2020 Dream Home. ‘It’s so well thought-through, well designed and well detailed. Everything – the natural light, the artificial light, the combination of materials – is very good.’ The micro residence is home to a newlywed couple and their two cats. With a clever combination of modular interventions and multilevel spaces, Inspiration Group made the 44-m2 floor area feel much bigger. The exterior is punctuated by openings that emphasize the skyline to ensure that the family has a connection with nature in the busy Chinese cityscape of Guangzhou. These factors captured the attention of Misak Terzibasiyan, founder and principal architect of UArchitects, who appreciated the ambiguity of upstairs and…

Looking back at the FRAME Awards, what did you take away from the projects and discussions in relation to products? YORGO LYKOURIA: We’re in a very interesting situation right now when we discuss what is ‘good design’, because there are so many tendencies and crosscurrents of influence and activity that it’s really hard to pinpoint things – and that’s probably the way it will stay. We’re in a post-trend society. Being a designer is not just about the formalized aspect of beauty, which can be shallow and meaningless. We can all make something beautiful, but design’s relevance is in engaging people and relating to their imaginations and lives. There are many ways of approaching lighting, for instance. It can be purely functional. A lot of lighting designers want fittings to…

Seeking out sustainability, timelessness and versatility, our jury selected Tarkett Lino Originale as the Finish of the Year. The product from Tarkett’s design team takes an already sustainable material – linoleum – to the next level. By carefully selecting colour pigments, the team achieved Cradle to Cradle Certified Gold – a first in its sector. And in an industry first, the product is fully recyclable post-use. To make this possible, Tarkett’s R&D team developed a way to make the backing separable from the linoleum paste, and optimized the recycling of both material streams. Jury member Yorgo Lykouria, founder and creative director of Rainlight Studio, commended Tarkett not only for making a sustainable material more sustainable but, perhaps more importantly, for making a sustainable product ‘more desirable’ with ‘beautiful and timeless’…