Posts tagged with "Best Of Design Awards":

Placeholder Alt Text

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
Placeholder Alt Text

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
Placeholder Alt Text

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
Placeholder Alt Text

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
Placeholder Alt Text

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
Placeholder Alt Text

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
Placeholder Alt Text

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
Placeholder Alt Text

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.

Placeholder Alt Text

2018 Best of Design Awards winners for Commercial — Hospitality

2018 Best of Design Award for Commercial — Hospitality: Saxum Vineyard Equipment Barn Designer: Clayton & Little Location: Paso Robles, California Located in West Paso Robles, California, this unassuming agricultural storage facility was constructed using salvaged oil drill stem pipes, WT steel, Douglas Fir plywood, and perforated metal screen panels. Sliding barn doors are clad in a tube steel frame forged from remnants of the winery’s shoring wall. The pole barn sits sentry as the first structure near the entry of the 50-acre James Berry Vineyard. The building’s renewable energy system speaks to the winery’s commitment to sustainability. Its prime objectives are to provide an armature for a photovoltaic roof system—offsetting more than 100 percent of the adjacent winery’s power demands—and to provide covered storage for farming equipment. Mounted on the pole barn, a future rainwater harvesting system will collect just under 30,000 gallons annually. Honorable Mention Project Name: Brightline Designer: Rockwell Group Location: Florida: Miami, West Palm Beach, Fort Lauderdale, Orlando
Placeholder Alt Text

2018 Best of Design Awards winners for Commercial — Retail

2018 Best of Design Award for Commercial — Retail: FLEX Designer: LEVER Architecture Location: Portland, Oregon
FLEX is a 19,000-square-foot building that can be adapted for various commercial uses. LEVER Architecture developed the design based on an industrial typology that incorporates mass timber structural elements, a distinctive angular frame, and interior mezzanines. The large, 200-by-95-foot open floor plate is divisible into eight 24-foot structural bays, allowing the building to be partitioned for diverse tenants—from a restaurant to small maker spaces. An 80-foot-long triangular clerestory, skylights, and glass garage-style doors bring in daylight. Within a tight budget, the building is constructed in an affordable material palette of plywood, sheet metal, glulam columns and beams, glass, and concrete, with many components available off the shelf or prefabricated off-site.
Honorable Mention  Project Name: COS Chicago Oak Street Designer: COS in-house architectural team Location: Chicago
Placeholder Alt Text

2018 Best of Design Awards winners for Research

2018 Best of Design Awards winner for Research: Stalled! Designer: JSA Stalled! is a design-research project by Joel Sanders Architects (JSA) in collaboration with Susan Stryker and Terry Kogan that responds to the national debate about transgender access to public restrooms. The speculative design addresses the need for safe, sustainable, and inclusive restrooms. While most debates consider this as solely a transgender rights issue, this project casts a wider net by developing inclusive guidelines that take all people into consideration. Using this inclusive design methodology, JSA created three viable and economical prototypes for inclusive facilities for new construction projects or retrofitting. A generic airport version reconceives the restroom as a semi-open agora, animated by three parallel activity zones dedicated to grooming, washing, and toilet facilities. Honorable Mentions Project name: Marine Education Center Designer: Lake|Flato Architects Location: Ocean Springs, Mississippi Project name: After Bottles; Second Lives Designer: ANAcycle design + writing studio/Rensselaer Polytechnic Institute Location: Brooklyn, New York and Troy, New York
Placeholder Alt Text

2018 Best of Design Awards winners for Temporary Installation

2018 Best of Design Award for Urban Design: Trickster Designers: studio:indigenous Location: Sheboygan, Wisconsin Designed by studio:indigenous, Trickster is an installation completed during a residency at the Bookworm Gardens in Sheboygan, Wisconsin. The piece is made of wood harvested on-site and patinated in copper mesh. The primal sculpture plays an important role in indigenous storytelling, which focuses more on animal forms and natural phenomena than on humans. The stories—and Trickster, by extension—are designed to encourage viewers to free their minds of all that complicates this world and examine their own flaws rooted in anthropocentric thinking. Observers are encouraged to tell their own stories based on how they experience Trickster. Honorable Mentions  Project Name: Blue Marble Circus Designer: DESIGN EARTH Location: Boston Project Name: 85 Broad Street Ground Mural Designer: FXCollaborative Location: New York