Posts tagged with "Best of Design Awards 2018":

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2018 Best of Design Awards winners for Residential — Multi Unit

2018 Best of Design Award for Residential — Multi Unit: St. Thomas / Ninth Designer: OJT Location: New Orleans

The St. Thomas / Ninth project is composed of 12 starter homes occupying an existing warehouse and vacant parcel. OJT designed the complex in order to make the best possible use of the industrial edge site. Embracing the warehouse language became a springboard for the firm’s formal exploration of the remainder of the site. Because OJT worked with abnormally large lot minimums for single-family structures, the firm mandated a tactic that leveraged the density allowed under multifamily development regulations, but organized the site as a single-family assemblage. Each home touches down minimally in order to free the ground plane to become a courtyard. The residual spaces between buildings are reclaimed as front porches, giving each dwelling a sense of entry and ownership. Meanwhile, pitched roofs accent the industrial character of the neighborhood.

Honorable Mentions Project Name: Tolsá 61 Designer: CPDA Arquitectos Location: Mexico City Project Name: Elysian Fields Designer: Warren Techentin Architecture Location: Los Angeles
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2018 Best of Design Awards winners for Residential — Single Unit

2018 Best of Design Award for Residential — Single Unit: Terreno House Designer: Fernanda Canales Location: Mexico Federal State, Mexico

Located on a mountain three hours outside of Mexico City, the Terreno House addresses two contradictory conditions: seclusion and aperture. Designed by Fernanda Canales, the project’s thick brickwork facade provides protection against the extreme weather of the area, where temperatures often fluctuate 50 degrees on a given day. The home is laid out around four courtyards. Built in different shapes and sizes, each opens up to the project’s surroundings. These voids help frame key aspects of the dramatic landscape. The first, curved patio acts as a transitional space between the exterior and interior, while the second, central patio shifts the program from public to private spaces. A third patio leads to a rooftop terrace, and a fourth provides ventilation and sun to the service area. Each courtyard works to create a different atmosphere and frames the surrounding landscape. While Terreno House’s exterior is clad in brick and its curvilinear roof in green clay tiles, its interior features softer surfaces. A long corridor connects six bedrooms before reaching a shared open-plan living and dining room. In this space, wood and concrete are used to articulate different elements: built-in book cases, a wall-integrated fireplace, and an arched concrete ceiling. The contrast of warm wood and gray concrete carries through in the choice of furniture and upholstery.

Honorable Mentions Project Name: Sky House Designer: Julia Jamrozik and Coryn Kempster Location: Stoney Lake, Ontario Project Name: V-Plan Designer: Studio B Architects Location: Aspen, Colorado
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2018 Best of Design Awards winners for Interior — Healthcare

2018 Best of Design Award for Interior — Healthcare: NYDG Integral Health & Wellness Designer: Brandon Haw Architecture Location: New York Situated in Manhattan’s Ladies’ Mile historic district, the NYDG Integral Health & Wellness is the new, 7,000-square-foot flagship facility for the New York Dermatology Group. Eight blood work and nutrition treatment rooms, two cryotherapy suites, and a shop are integrated within a single loft space. Brandon Haw Architecture developed the interior project as a space within a space. A central, freestanding enclosure—clad in wave-pattern fiberglass panels—contains all facilities while making room for a perimeter walkway, allowing patients and staff to circulate alongside magnificent, light-filled windows. Treatment-room walls were custom-built in Italy using yacht hull technology. Small details like bronze trims, door pulls, and cabinetry were introduced to complement dark reclaimed wood block floors. Honorable Mention Project Name: Studio Dental II Designer: Montalba Architects Location: San Francisco
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2018 Best of Design Awards winners for Interior — Residential

2018 Best of Design Award for Interior — Residential: 15th St Designer: Mork Ulnes Architects Location: San Francisco

By converting an uninhabitable attic into a unified and light-filled volume, Mork Ulnes Architects gave new life to a 1907 Victorian flat. The formerly compartmentalized house was transformed into an expansive home centered on collective living. To host a growing family, the gabled attic level was lightly divided into bedrooms, thanks to a series of partial-height walls. A double-height stair atrium cuts into the center of the building, linking the newly habitable attic to the levels below. The attic’s wood framework is a graphic echo of the original roofline within the expanded building shell. This framework language carries throughout the project in casework details, windows, guardrails, and the kitchen.

Honorable Mentions Project Name: Fort Green Place Designer: Matter of Architecture Location: Brooklyn, New York Project Name: Little House. Big City. Designer: Office of Architecture Location: Brooklyn, New York
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2018 Best of Design Awards winners for Interior — Hospitality

2018 Best of Design Award for Interior — Hospitality: Hunan Slurp Designer: New Practice Studio Location: New York For an eatery that features authentic street rice noodles from the Hunan province of China, New Practice wanted to create a dining space that engages with the bustling East Village neighborhood. Hunan Slurp was conceived as a place to both look into and out of. Grabbing the attention of passersby, a linear volume runs from the storefront into the interior, while a group of communal dining tables anchor the core of the space and add to its continuity. The interplay between white plastered walls and backlit lattice wood screens creates a bright and warm atmosphere. The arched, fillet corner design is intended to resemble the shape of rice noodles. Beyond this central focal piece is a more intimate space. Marble-topped tables and a cozy banquette flank a glazed-wall kitchen, allowing diners to see their food being prepared. Honorable Mentions  Project Name: City of Saints, Bryant Park Designer: Only If Location: New York Project Name: Sant Ambroeus Coffee Bar at Hanley Designer: Bonetti/Kozerski Architecture Location: New York
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2018 Best of Design Awards winners for Interior — Retail

2018 Best of Design Award for Interior — Retail: Jack Erwin Flagship Store Designer: MILLIØNS Location: New York For Jack Erwin’s first brick and mortar retail space in Midtown Manhattan, MILLIØNS designed the men’s shoe boutique by employing a series of elements that oscillate between symmetry and asymmetry. The store features a white raw concrete central stage for display, along with seating, fitting areas, and storage solutions. A set of reconfigurable aluminum units for exhibitions are accompanied by a white, scalloped wrap desk. The white pearlescent and satin finishes of the furniture pieces are set against blue-teal gradient, powder- coated aluminum curtain surfaces. Together, these elements form a dynamic and immersive environment for this Madison Avenue flagship. Honorable Mention Project Name: Valextra Bal Harbour Shops Designer: Aranda\Lasch Location: Miami
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2018 Best of Design Awards winners for Lighting — Indoor

2018 Best of Design Award winner for Lighting – Indoor: The Lobster Club at the Seagram Building Lighting Designer: L'Observatoire International Location: New York

As part of the redevelopment of hospitality spaces in New York’s iconic Seagram Building, L’Observatoire International conceived of a lighting concept for the celebrated Peter Marino–designed Lobster Club restaurant. Marino’s design relinks the Seagram space with its Pop Art heritage. Collaborating with developer Aby Rosen and Major Food Group, L’Observatoire introduced a bold design concept for both levels of the venue that complements this colorful scheme. Upstairs, lighting fixtures were introduced as provocative punctuations, echoing the space’s contemporary take on midcentury modern graphic opulence. Downstairs, a sequenced program—based on daylight cycles—was implemented to counteract the lack of natural light.

Honorable Mention Project Name: Midtown Professional Education Center, Weill Cornell Medicine Lighting Designer: Cline Bettridge Bernstein Lighting Design Location: New York
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2018 Best of Design Awards winners for Lighting — Outdoor

2018 Best of Design Award winner for Lighting – Outdoor: Spectra, Coachella Designers: NEWSUBSTANCE Location: Indio, California

Spectra was a seven-story temporary installation designed by NEWSUBSTANCE and mounted at the 2018 Coachella Valley Music and Arts Festival. Visitors were able to walk up a spiral ramp to view the fairgrounds from different heights and through a full spectrum of colored windows. During the day, the 31 Perspex panels reflected and refracted sunlight. At dusk, an LED cove light scheme gently fluctuated through different color temperatures. As night fell, roof-mounted spotlights extended the tower’s profile into the sky. Spectra was one of six site-specific installations commissioned for this year’s festival. Responding to the surrounding Colorado Desert, the cylindrical project explored the relationship between light and landscape.

Honorable Mention Project Name: National Holocaust Monument Lighting Designer: Focus Lighting Designer: Studio Libeskind Location: Ottawa
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2018 Best of Design Awards winners for Interior — Institutional

2018 Best of Design Award for Interior — Institutional: Brooklyn Aozora Gakuen Designer: Inaba Williams Location: Brooklyn, New York Inaba Williams worked with many constraints to design this light-filled preschool. As a cost-saving measure, the Brooklyn Aozora Gakuen leased a property with undesirable conditions. The space is located on a structural transfer floor, wedged between a residential tower above it and a parking podium below, and is filled with many irregularly placed columns that support both. Inaba Williams worked through these conditions by arranging classrooms around a central drop-off and pick-up area and highlighting rather than hiding the columns and other features. Tall glass panels installed along the interior walls draw natural light into this communal space, while large load-bearing columns are left exposed to frame the wooden floor thresholds of two classrooms. Honorable Mention Project Name: Jackie and Harold Spielman Children’s Library, Port Washington Public Library Designer: Lee H. Skolnick Architecture + Design Partnership Location: Port Washington, New York
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2018 Best of Design Awards winners for Interior — Workplace

2018 Best of Design Award for Interior — Workplace: Expensify Headquarters Designer: ZGF Architects Manufacturer: Pure+FreeForm Location: Portland, Oregon Expensify’s new headquarters is lodged in Portland’s National Landmark First National Bank. ZGF Architects collaborated with architectural metal design studio Pure+FreeForm to develop a design concept that reflects the company’s flexible work ethos. Office spaces are spread throughout the historic building’s four-story Art Deco atrium. Where seating is not assigned, conference rooms cannot be reserved, and employees choose workspaces depending on their current task or mood. A pair of adjacent conference rooms are suspended above the bank building’s main entrance, connected by an oak and steel monumental staircase. Other spaces include a speakeasy salon, a midcentury boardroom, a living room area, and a custom 41-foot- long communal table. Honorable Mentions  Project Name: CANOPY Jackson Square Designer: M-PROJECTS Location: San Francisco Project Name: Dollar Shave Club Headquarters Designer: Rapt Studio Location: Marina del Rey, California
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2018 Best of Design Awards winners for Landscape — Residential

2018 Best of Design Award winner for Landscape – Residential: Folding Planes Garden Designer: Colwell Shelor Landscape Architecture Location: Paradise Valley, Arizona Colwell Shelor Landscape Architecture conceived the Folding Planes Garden project to complement the strong architectural outline of the house it contours. The eclectic landscaping incorporates a judicious amount of stark minimal forms and bold sculptural desert vegetation. The hardscape concept begins with a white concrete walkway that snakes from the street through specimen cacti before terminating at the black aperture of the home’s entrance. Resembling a dry gypsum lake bed, a white salt finish concrete deck continues from the front to a patio in the rear. A basalt house plane cuts between the main path, while a central glass tile pool reflects the sky and cactus wall beyond Honorable Mention Project Name: Greenwich Village Townhouse Garden Designer: XS Space Location: New York
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Jean Lin of Colony talks the future of independent furniture design

When Jean Lin founded Colony in 2015, she established a new kind of platform for New York City’s thriving community of independent furniture, lighting, textile, and object designers. The multihyphenate creative—a fashion designer, editor, trend forecaster, professor, entrepreneur, and consultant—set up the gallery based on a co-op fee system rather than the standard commission model. This made it a more feasible and attractive option for many of the city’s emerging talents. Today, Colony’s roster includes design studios like Fort Standard, Allied Maker, Moving Mountains, Vonnegut/Kraft, Earnest Studio, and Hiroko Takeda, to name a few. Lin has also spearheaded initiatives such as the charitable design organization Reclaim NYC and the Tribeca Design District event. She is also a member of the NYCxDesign Steering Committee and on the board of the Female Design Council. As a member of this year’s AN Best of Products Awards jury, Lin spoke to The Architect’s Newspaper contributor Adrian Madlener about the current state of furniture and product design while touching on the issues facing the industry and changes that have taken place in the past few years.
The Architect’s Newspaper: What are some of the challenges for independent designers today?
Jean Lin: Independent designers are the most prone to the impact of a changing economy—it affects them on a micro level. For many of the talents that show at Colony, the difficulty is in determining whether they can grow while staying true to their initial goals. Right now, they might be manufacturing their own furniture. If they decide to hire new people or outsource production, how will they be able to maintain the identity of their practice?
AN: Are these talents addressing or shying away from some of the larger problems society is currently dealing with, such as sustainability, the pace of technological advancement, or gender-based, racial, and economic inequalities?
JL: What these small companies do is personal. It’s hard to miss what they’re about. The designers I work with are very socially and environmentally conscious. A lot of the causes that are getting wide, mainstream attention now have been addressed by this community for a long time. Seattle-based duo Grain had a ten-year anniversary exhibition at Colony in September. They are sourcing materials responsibly, and their entire practice is based on sustainability. It’s inherent to what they do, and so they don’t need to promote it as something radical.
AN: Can these issues also be addressed through aesthetics and form?

JL: Good design is always about the interaction between an object and the environment it occupies—the people it interfaces with. There are ways that we can talk about social and ecological issues through form and aesthetics. Is the product masculine or feminine? How long does that piece last versus how long will that piece seem appealing? However, I wouldn’t say that what’s coming out now is a direct visual or formal reflection of everything that’s going on in the world. What designers are now taking into closer consideration is how they source material, what companies and vendors they decide to collaborate with, and how they run their businesses. Sometimes, it’s simply a question of being active and not apathetic toward the things that are changing in the world around them. That awareness seeps into everything they do.

AN: How do these changes in the way talents work affect trends?

JL: The talents that are leading the way are now pushing themselves to create timeless pieces. This is a reaction to Instagram culture, the latest and flashiest designs that often look the same, go viral, and get all the attention—but only for a fleeting moment. I love trends and believe they become popular for valid reasons, mainly because they are approachable at the given time. Right now, monolithic forms and earthen jewel tones are all the rage, but next year we could be talking about much more delicate shapes and a different color palette. Trends get pushed to their threshold and spark antitrends that then take over. The designers that show at Colony are using material, but in an aesthetic and formal language that can last much longer. 

AN: Do the collectible and art design markets create economic conditions that give independent designers the time and space necessary to develop these types of designs? 

JL: I don’t see the collectible design market as something that has a great impact on the wider design industry. It’s aspirational and only targeted to the 1 percent of people who are able to afford a luxury item that isn’t necessarily functional, and perhaps it’s more reflective of artistic expression. What truly pushes designers to innovate is a different kind of high-end market that is educated in the quality of craftsmanship and the value of good design. Emerging designers are finding a comfortable place in the market. The upper middle class, interior designers, and the hospitality industry are starting to appreciate the quality of this output. In turn, there is a demand for beautiful, functional, and well-crafted work that doesn’t have to sit on a shelf to be acknowledged. 

AN: You mentioned that interior designers are important clients. This is especially true in New York City, where a strong surge in real estate is keeping the industry busy. How are independent designers faring in other parts of the country?

JL: This summer, Colony and Design Milk launched an initiative called Coast to Coast to help dispel the misconception that the only design market in the United States is New York. I think that this city is an amazing commercial and creative center for design. I also think that the sentiment that people never have to leave because all the best talents come or sell here is too insular and no longer accurate. We visited Detroit, Nashville, New Orleans, and Santa Fe to get a better understanding of how the independent design movement has expanded. Many local or transplanted talents are becoming a force for good in their communities, helping to change the market and creative landscape. I’m now planning to orient Colony with a broader focus and to incorporate design from different parts of the country.

AN: The independent design or maker’s movement has been going strong for the past 15 years or so. Is there a potential for autonomous talents to collaborate with larger manufacturers and the contract market?

JL: It would be a challenge. A lot of independent talents have altogether discounted the possibility of collaborating with big companies. The gap between these two areas of design is wider than ever. Unlike in Europe, major manufacturers and design brands in the United States don’t have the time to dig in and find talents who aren’t on a top 10 list. They’re always going to go with the star designers they’ve worked with before. This reality forces and facilitates independent design companies to grow, out of necessity. However, large companies definitely look to young and emerging talents as a resource, even if they don’t give credit where credit is due. As independent practices become a stronger commercial force, this will happen even more. The good news is that consumers are also seeing the value of well-made furniture and product design, even if it has to be sold at a higher price point.