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VOLUME 6 / ISSUE 2 / 2017


The official magazine of the Society of British and International Design

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ell, it’s that time of the year when we approach the closing date for entry to SBID’s International Design Awards. This always lead to a plethora of email requests asking for more time to upload entries, obtain intellectual property (IP) consent from clients and generally assemble the submissions. As a designer, I fully understand the issues. If you haven’t entered yet, go to our Awards website and enter today. We’ve been busy in other areas too and have put the finishing touches to the creation of our Colour Council, which will sit alongside our expert Healthcare Council. Now in its fifth year, the Healthcare Council is launching its first publication, a handbook for designers that provides quality advice and knowledge from leading experts in compliance, science, research, education, practice, manufacture, use and function. Since our inauguration, SBID has led with healthcare as a design discipline; it is such an important sector of design in an ageing society and forms a significant category in our annual awards. Turn to our Healthcare section in this issue, on page 37, to read interior designer Dan Smith’s article on creating dementia-friendly spaces. We lead the way in education too, supporting rising talent with Get Me 2 The Top, our national student competition. On pages 41-45, you can take a look at the winning projects from our Ukrainian edition of the competition, led by SBID’s office in Kiev. The standard is really superb and the well-deserved winners will benefit from professional support as they begin their careers. Our partner Mishcon de Reya is a leader in law. The global firm works with clients at the highest levels of business, including in the creative industries in a range of areas from furniture to fashion. In their regular column for eSociety, Mishcon de Reya’s experts cover need-to-know legislation for designers and on page 47 you will find useful information about copyright. It’s time to get the creative industries as up-to-date in this area as other professions, such as the financial and the legal industries. I hope you enjoy this issue. As always, please do let us know if you have any comments or ideas for subjects you’d like us to cover; we’d love to hear from you.

“SBID have an international outlook which is a good match for our company, I also feel that of all the bodies it has a healthy respect for and is encouraging of quality and ambitious interior design.” Katharine Pooley, Director and International Interior Designer Katharine Pooley

Dr. Vanessa Brady OBE Doctor of Design HonDDes Founder and President


VOLUME 6 / ISSUE 2 / 2017


21 4 Contents



07 NEWS All the latest news from the interior design world.

10 PRODUCTS Some of the newest interiors products on the market.

14 INTERVIEW: CARLO CASTELLI We catch up with Carlo Castelli, one of the Directors of Strategic Planning and Design at AECOM and SBID International Design Awards 2017 judge.






Royal Hotel Savoy Lausanne, Lausanne, Switzerland.



Some of the latest pieces to catch our eye.

blueprint Co-working Space, Hong Kong.

18 PROFILE: I&JL BROWN Find out how the British furniture company blends innovation and tradition.


22 DAVID COLLINS STUDIO De GRISOGONO Flagship Store, London, United Kingdom.

24 AGENCE FRANÇOIS CHAMPSAUR Hôtel Le Bailli de Suffren, Saint Tropez, France.



Adelphi Building, London, United Kingdom.


37 Interior designer Dan Smith discusses how spaces can be made more accessible for those with dementia.


41 We reveal the winners of the Ukraine edition of our student competition Get Me 2 The Top.


47 Legal expert Suzi Sendama looks at what a recent copyright case might mean for creatives.

EDITORIAL CONTENT MARKETING SALES SBID 10 Molasses Row Planation Wharf, York Road London SW11 3UX FOLLOW US ON TWITTER @thesbidsociety ISSN 2050-8905

Mondrian South Beach Hotel, Miami, United States.

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NEWS Discover what’s new from SBID and the design world


LAST CALL FOR 2017 INTERNATIONAL DESIGN AWARDS Designers around the world are finalising their entries for SBID’s 2017 International Design Excellence Awards as the deadline approaches. Designers have until 5.30pm GMT on 30 June 2017 to get their entries in via the dedicated awards website After deadline, all entries will be submitted to a panel of judges from a broad spectrum of the creative industry. The judges decisions will account for 70% of the overall score while the public have the opportunity to vote for their favourite designs, accounting for 30% of the overall score. The winners will be announced at a glittering ceremony at the Dorchester, London on 27 October 2017. This year’s prestigious judging panel includes Andrew Katz, a Partner at Prospect Hotel Advisors, who works with interior designers on hotel renovation projects with groups such as Four Seasons, Hilton, Marriott and Accor. The 2017 Awards also welcome Carlo Castelli to the panel. As a Director in Strategic Planning and Design at AECOM, Carlo is currently

involved in a vast project to transform large parts of the urban centre of Milan. You can read our interview with Carlo in this issue by turning to page 14. HOW TO ENTER If you haven’t already registered, go to the www.sbidwards. com where you can register or, if you have already registered, log in to submit your entries. This year there are 14 categories, reflecting the diversity of the industry. There is no restriction on number of submissions however each application form supports no more than 10 entries. There is no restriction on the number of application forms submitted by any one company or the number of categories entered per submission. All projects entered must not be more than two years old at the moment of submission. For full submission guidelines and updates on the 2017 awards, see go to 7




The Washington DC headquarters of the American Society of Interior Designers (ASID) – a partner organisation of SBID – has been awarded both LEED and WELL Platinum Certification, making it the first building in the world to be awarded both. The 8,500 sq ft office space, designed by Perkins+Will, puts sustainability at its core, incorporating pioneering design features to promote occupant health and wellbeing. Biophilic design introduces natural elements for stress reduction and enhanced air quality while soundmasking systems and a circadian lighting system are just two of the human-centred features of the building. As part of the WELL certification process, inspectors must gather data on factors that impact human health and wellbeing in the built environment, including air, water, nourishment, light, fitness, comfort and mental health.


Consolidating its influence in the educational sphere, SBID has launched its Education Council to look at interior design in a variety of educational settings, from early years stages to lifelong learning. The Council will be comprised of professionals in design and education, building on the ethos that design can have instructive power and factors such as colour, light, furniture, ergonomics and acoustics are all major contributors to the learning experience. With technology transforming how we learn, educational spaces are changing and rapidly becoming more social and flexible. The Education Council will examine how these changes are impacting on interior and spatial design, and consider how effective design contributes to increased creativity and collaboration. With an inclusive agenda, the Council will also address how learning spaces can meet the needs of all users, from children to those who require additional support. Designing environments that assist with transitions between learning stages will also be high on the agenda. Several members of the new Education Council have been confirmed, including Maxine Sloss, designer, creative learning activist and founder of Super Power Agency; Ian Cathcart of lighting company Franklite; Twyla Howse Director at In2ition; Oliver Heath of biophilic experts Oliver Heath Design ; Gillian Nicoll, Learning & Teaching Spaces Design Management at the University of Edinburgh and Jim Taylour, head of Design and Wellbeing at Orangebox. For more on SBID’s work in education visit


Finishes and Interior Sector (FIS), which represents specialists in the interior fit-out and finishes sector, is inviting thoughts on Brexit from an industry point of view in a dedicated online section of the FIS website. Commentary can be contributed anonymously with the aim of encouraging frank and open discussion on the topic and how focus on the break with the EU may affect the industry. Find out more and contribute at 9

PRODUCTS A round up of some the latest products that have caught our eye

Translucent Faux Alabaster and Computer Numerically Controlled (CNC) Carved Wood ShellShock Designs Kitchen manufactuer Poggenpohl has launched a Pebble Grey finish for its products, available in both matt and gloss lacquer. As a warm alternative to traditional white, the shade also aims to be softer than some greys on the market. The colour suits for larger kitchens where entertaining is an important as cooking. The image features the Poggenpohl +Modo kitchen with a brown Antico granite worktop.

Specialists in opulent and niche materials, ShellShock Designs has combined the beauty of translucent faux alabaster with intricately carved wood for new collection of panels. With translucent faux alabaster available in a variety of patterns, colours, shapes and sizes, it’s possible to achieve many looks. Combining it with computer numerically controlled (CNC) wood results in a luxurious product that will steals the show in any setting and can be backlit to intensify its effect.

Pebble Grey Finish Poggenpohl

Ceralsio Porcelain Surfaces CRL Stone Available in 27 colours and finishes, Ceralsio is a hardwearing and versatile collection inspired by nature. The versatile range of porcelain surfaces suits a number of applications, including kitchen and bathroom countertops, floor tiling and wall-cladding in interior and exterior settings. Choose from three thicknesses – 12mm for a slim worktop, 10mm for floor tiling and 6mm for wall cladding. Resistant to wear and tear, scratch, stain and ultra-violet, the surfaces can be used for both interior and exterior use. 10 Products


Customised map wallpaper Love Maps On Cartography specialist Lovemapson allows you to create made-to-measure map wallpaper for a feature wall with a personal touch. Choose from a variety of maps, including Victorian street maps, Ordinance Survey, world maps, Vintage London maps and vintage US postcode-centred maps. The maps are produced by in-house cartographers and printed in the UK using specialist print partners. You can also order customised map splashbacks for the kitchen as well as canvases and soft furnishings.

Luv Collection Duravit Luv is the name of Duravit’s new Scandinavian-inspired collection. Defined by soft colours and curves, the collection of washbasins, bathtubs, and bathroom allows designers to create an original look by mixing colours and finishes. The signature shape for the collection is oval, inspired by the simple idea of a bowl filled with water on a table; the range is the first for Duravit created by Cecile Manz.

‘2097’ Chandelier Christopher Wray This minimal suspension lamp from lighting specialist Christopher Wray provides diffused light and stark beauty. Designed by the legendary Gino Sarfatti in 1958, it has a steel central structure and brass arms, a steel ceiling fitting and rose. Available in chrome or brass, it comes in two sizes, with either 30 lights and 50 lights.

Urban LivePicture Urban Roof Gardens Bringing the outside indoors, Urban LivePicture elevates nature to an art form thanks to clever design. Inspired by the ‘living walls’ now seen in many commercial interior settings, Urban LivePicture brings the garden canvas concept into smaller rooms. With four different schemes to choose from and five frame sizes, selected plants are placed in individual growing pockets within a vertical cassette format, creating a living, breathing work of art that brings nature inside and inspires conversations. 11


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Amtico Décor flooring Amtico Inspired by Victorian design, Amtico Décor is a new range of luxury vinyl tiling from Amtico. Available in six colourways, the mosaic patterns are supplied as preassembled tiles. They can work as complete flooring solution or as an eye-catching border. The tiles are 5mm thick with a 1mm durable wear layer and are water and stain resistant.

Boundary tile range Johnson Tiles The Boundary collection from Johnson Tiles is a range of glazed porcelain wall and floor tiles. The palette expands the neutral spectrum and includes warm shades as well as cooler tones. The collection is available in a Natural finish as well as a Lapato semi-polished finish which gives a subtle reflection. With two sizes, 600x600 and 600x300, the Boundary range work sin both contemporary and traditional schemes.

Circus pouf Normann Copenhagen Danish design company Normann Copenhagen has added new colours to its popular, minimalist Circus pouf. The new shades – rust red, burnt yellow, light blue, soft beige and dusty lilac – complement the tactile velour, bringing earthy tones and cool hues to the palette. Circus comes in two sizes 40 cm x 46 cm x 46 cm or 35 cm x 65 cm x 65 cm.

Lust Bed Memoir

Created to bring sophistication and opulence to the bedroom, the Lust Bed features a calming neutral palette and luxe materials. Created by Portuguese brand Memoir, the bed is upholstered in white velvet over a brass base. Memoir is the brainchild of Lisbon-based designer Mafalda Soares, whose work aims to captures the essence of dreams and emotion.

Brasserie Kitchen and Handless Island Smallbone of Devizes Smallbone of Devizes has relaunched its Brasserie Kitchen to give it an urban edge. Inspired by the relaxed ambiance and industrial style of a brasserie, the kitchen features scaffold-style horizontal solid oak planks and character timber. To complement the kitchen, the company has also launched the Handless Island to bring the popular ‘chef’s table’ concept of restaurant dining, where host and guest share the same space, into the kitchen. 13

Q&A: CARLO CASTELLI Carlo Castelli, one of the Directors of Strategic Planning and Design at AECOM, talks to SBID about the challenges of working on large-scale creative projects to transform cities.

What was the route to your current role? It’s been an interesting trajectory. I have an architectural background and six years ago I did an MSc at the London School of Economics and Political Science in City Design and Social Science as I wanted to work on large-scale,multi-disciplinary city transformation projects. That’s what I do now, still using my architecture background. Generally my focus is international as AECOM’s London office covers Europe, the Middle East, Africa and India. Do you find common threads in urban planning approaches around the world? There’s a lot of debate now around large catalytic projects that can trigger regeneration, such as the Olympics. There’s a tendency for an integrated approach although it’s not quite there yet. Of course, every country will have its own cultural approach too. I’ve worked internationally for years but have been spending a lot of time in Milan recently; it’s been a pleasant crash course in my own culture! The project is for FS Sistemi Urbani, the asset management arm of the National Railway Company and involves the regeneration of 14 Interview

seven urban parts of the city. There’s a buzz from the bottom up and all the stakeholders are really enthusiastic, which is great. How do you achieve success on projects of such immense scale? We couldn’t do it without collaboration. From a design-process perspective, I personally believe in taking a collaborative approach. When you bring people from different areas together in a room – for example from transport, infrastructure, master planning and economics – you leave the room as a different person. It’s very interesting from that point of view. What’s your approach to working with a wide spectrum of stakeholders? We use the workshop process as a way of getting everyone’s views. Then we can shape those views into initial ideas and create a vision for a city or an area. For the Milan project, we created and facilitated a large workshop last December. We saw around 2,000 people over three days; 800 people turned up on the first day alone! We made it work by having a strong structure and methodology; the attendees were enthusiastic about

the objectives, which we clearly set out. It was a fantastic experience and the output of those three days is now informing the process. Architects and interior designers are often focused on creating something for a specific purpose or for a specific set of users, but when the project is a city or a sector of a city, the challenge is very different. Part of what we do is help to form what are often radically different views into one consolidated trajectory that can move forwards. Everybody should state clearly what their standpoint is so you can put everything on the table and make it work. That leads to much better results than working in isolation. Of course, you need to have leadership too. Do you feel good planning can transform people’s experiences and even lives? Yes, especially when it’s the result of a collaborative process. One of the main challenges is striking the balance between ‘top down’ and ‘bottom up’ approaches. We’re living in a climate where there’s a perceived disconnect between those we refer to as ‘experts’ and everyone else, so you need to bring in as many voices as possible. There is a huge responsibility for us, as experts,

The Piazza Gae Aulenti in Milan, designed by AECOM in 2013, acts as a gateway to the city from the main railway station.

to use our expertise and experience to make sure this top-down/bottom-up balance works. As one of the judges for this year’s International Design Excellence Awards, why do you think recognising good design matters? Awards can be a moment of celebration; they create enthusiasm

and momentum for the creative community. There’s also an opportunity for exchange: for networking, of course, but also for learning new things. I like judging awards: it’s a good way to discover other people’s work, to look at other’s work in a critical but also a respectful way – you can learn a lot from the process.

ABOUT CARLO CASTELLI As a Director of Strategic Planning and Design at the global firm AECOM, Carlo Castelli helps transform urban environments around the world. A masterplanner and architect, he seeks to maximise value for all stakeholders through strategic planning, rigorous consultation, collaborative approach and a highly creative vision. He is on the judging panel for the SBID International Design Excellence Awards 2017.

Extensive public consultation forms part of AECOM's approach to regenerating seven urban areas of Milan.





10 W







In order to become the number one in the world you have to play unlimited, you have to win on all surfaces indoors and out. For this reason, Dekton aspires to always be at the edge It is the number one option for indoor kitchens and bathrooms and outdoor surfaces of all kinds. Its physical features make it resistant, durable, aesthetic and versatile.



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PRODUCTS Furniture pieces we feel inspired to showcase this issue KELLY SOFA Koket All Koket’s pieces are handmade and are designed to bring a feminine touch to any interior. The Kelly sofa comes upholstered in a variety of colours; here it features sumptuous deep blue velvet from Koket’s fabric collection. The sofa is finished with a contrasting polished brass base for a luxurious touch. Curved and bold, it adds a dash of timeless glamour to any setting.

REFORM CREDENZA Jonathan Adler As part of the American potter and designer’s new Reform collection and inspired Brutalist architecture, the show-stopping Credenza is made from sold brass and ebonised oak. The Reform collection’s motif, which started life as a clay sculpture, is carved on to the Credenza’s wooden doors, which are strikingly clad with a sheet of hand-hammered brass.

BERKELEY BUTTONED BENCH David Seyfried British firm David Seyfried has been in business for 30 years, producing a range of chairs, sofas, stools, ottomans and tables. All the upholstered pieces are made in the UK using beech wood frames, coil sprung units and a choice of cushions including 100% duck feather. The Berkeley Buttoned Bench is a twist on the classic sofa. Featured here in leather at 112cm wide x 68cm deep x 89cm high, it can be supplied in custom finishes and sizes on request.

LUNGTA Alma de Luce The Lungta cabinet from Portuguese company Alma de Luce is made from oak, brushed with black stain and set on brass legs. It’s inspired by the prayer flags of Tibet; These rectangles of colourful cloth are found in the high peaks of the Himalayas and traditionally feature a lung ta or strong horse. The chest’s drawers are lined in satin for a striking touch while the piece is available in white and black. 17

UPHOLDING CRAFTSMANSHIP Simon Hilton of British furniture-making company I & JL Brown talks about the firm’s blend of tradition and innovation

The company started life over 40 years ago supplying traditional chairs. Is there still a demand for these styles? Yes; in many cases simple amendments of finishing can turn what was seen as a traditional product into something that adapts to current fashions and trends. There is a considerable demand for hand-made chairs both from the UK and overseas. Being set up as a chair-maker is really part of our unique identity. Rarely are cabinet-makers also chair-makers and this sets us apart – making chairs is an art form in itself. Our bespoke chair-making service is of particular interest to many interior designers and for commercial projects, where producing a bespoke chair in a larger volume is often more attractive in terms of economies of scale. Has any style made a comeback in recent years? Dining chairs in particular. The home has changed significantly, with many people doing away with their dining rooms and ensuring a much more casual way of living. This has led to a resurgence in upholstered chairs rather than traditional woodenseated or rush-seated chairs. We have responded by offering a broad 18 Special Report

range of upholstered dining chair designs, from the traditional to the contemporary. Is true craftsmanship is still valued? Yes, especially when customer is able to have furniture produced to their own bespoke design. Every home has different requirements which need to be taken into account and are not always fulfilled by an ‘out of the box’ piece of furniture. We are able to work with a client from the start of the project in terms of designing the product with them and for them exclusively. Designing and making from concept to reality is part of the service that we offer, resulting in a piece of furniture that is truly unique and, in many cases, the only one of in the world. Is there a good supply of skilled artisans in the UK? We pride ourselves on ensuring the training in our workshops is constant and consistent. What is missing is the link at the early educational stage that encourages people into the professions of cabinet-maker or furniture finisher. Very few people will go through the educational system wanting to be a cabinet-maker – it is not an obvious direction encouraged


at any stage. When we are recruiting artisan positions we often look for enthusiasm, a will to work to the highest standards and, most importantly, a desire to learn. We have a number of staff members who have been with s since they left school at 16 and are now coming into their 30th year of being with us. Are you using traditional skills or embracing new technology? Having our own workshops gives us the ability and flexibility to use traditional techniques but to also adapt these to modern-day use. This can be as simple as use of raw materials that have been adapted and improved over the years. Being able to produce furniture that is proudly British in our own workshops is really important to us. We need to ensure that not only do we offer the best quality product but also that we are competitive in the worldwide marketplace.

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In every issue we profile the best and most exciting contract and residential projects from across the globe. In this issue we feature inspiring luxury hotel projects on both sides of the Atlantic, a sumptuous, exclusive retail space on one of London’s best shopping streets, a Hong Kong co-working hub with an industrial vibe and a stunning update to one of London’s most prestigious heritage buildings. You can find more projects on our blog at



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he interiors concept for the luxury jewellery brand’s London flagship store was a collaboration between de GRISOGONO founder Fawaz Gruosi and David Collins Studio. The design team sought inspiration from the qualities for which de GRISOGONO art-jewellery is renowned – such as the use of volume, density and chiaroscuro. The boutique showcases haute couture high jewellery pieces and underpins the creativity, quality and uniqueness of the brand. Referencing the brand’s aesthetics and style, the interior consists of three rooms, each playing its own role. The Corte, in amethyst tones and shimmering white, showcases a collection personally chosen by Fawaz Gruosi. Panels of amethyst-dyed shagreen reference the luxuriousness surrounding the brand while polished dark walnut display cases showcase the artisan-crafted jewellery. The Stanza Del Tempo celebrates de GRISOGONO’s prized collection of timepieces. Dark and dramatic, the space features wallmounted, cantilevered vitrines in antique brass against wood veneer marquetry walls. The sumptuous Grand Sala is lined in pistachiocoloured silk. With a residential feel, this drawing room immerses the guest into the private world of de GRISOGONO. For the room, Fawaz Gruosi curated NEED TO KNOW artwork by André Brasilier and Umberto Ciceri, two Design practice: gold La Murina – Murano David Collins Studio glass chandeliers, each one Project location: a metre in diameter, as well London, United Kingdom as a selection of mid-century Sector: Retail Italian furniture.





asked with renovating this luxury hotel, Marseille-based designer François Champsaur sought to capture the spirit of the south of France by mixing materials such as wood, terracotta, ceramics and wicker. Each of the 55 guest room focuses on its seafront view and bathrooms are designed in wood to elicit a rustic cabin feel. The guest rooms’ blue ceilings echo the azur suroundings, while the sea views are emphasised by wooden frames around the windows. Large, white cotton stonewashed curtains filter the Mediterranean light while royal blue custom-made armchairs, colourful coffee tables and work by young artists on the walls complement the blue ceiling. The terraces of the rooms features two Vincent Sheppard chairs and two 1950s retro coffee tables, giving guests another option for relaxation. At reception, the impressive desk is made from solid wood with enamelled lava stone legs while the terracotta plantation shutters offer shade. In the hotel’s bistro, François Champsaur chose redwood and pine, painted white, plus linen upholstery and colourful blue cotton cushions for the banquettes. The hotel’s barrestaurant, located on Rayol Beach, has an emphasis on seafood dishes and a backdrop of pastel-hued beach décor. At the bar, the counter is a mix of terracotta and colourful enamelled lava stone, continuing the emphasis on natural materials.

NEED TO KNOW Design practice: Agence François Champsaur Project location: Le Rayol-Canadel-sur-Mer, France Sector: Hotel

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he concept behind the interior was a ‘Sleeping Beauty’s castle’, a magical world where guests can relax amid outdoor and indoor spaces of theatre and wonder. The existing buildings were extended to create a semicircular sculptural structure. Guest rooms act like theatre boxes, overlooking the show that is the hotel’s magnificent gardens. The romantic interiors of the rooms are welcoming and open in a palette of white, gold, greys, blues, browns and black. Original pieces from Wanders’ own design studio – from lighting and furniture to flooring are found around the hotel. Outdoors, a chandelier above the pool adds glamour while cabanas and tented play areas provide relaxing sports for guests of different ages. The Sunset Bar features golden candelabras, onyx jewel-cut stools, ottomans and objets while gold leaf wallpaper and dark herringbone floors add to the rich ambiance. The polished bar stands on a high-gloss marble floor, looking out to the terrace and pool. The Asia de Cuba restaurant makes the most of the sun rays that stream through its wide windows and across the glossy white floor. Star of the show here is the Royal dining table, set on a custom carpet. Golden bells overhead herald diners to take their seats while crystal chandeliers nestled in the bells pour faceted light downwards. Cushioned deep booths around the edges of the room offer a retreat for those who prefer to sit back and take in the grandeur of this majestic space.

NEED TO KNOW Design practice: Marcel Wanders Project location: Miami, United States Sector: Hotel





ating from 1938, the Adelphi is one of London’s art deco icons and a Grade II listed building. As part of the building’s remodelling, the interiors were redesigned, bringing them up to modern standards while retaining important features and paying homage to the building’s design heritage. Some late 20th century interventions were removed to improve the interior space; this will allow the interior to function efficiently in the Adelphi’s next life as an office building while the building’s considerable heritage is fully respected. In the lobby, much of the Adelphi’s original ironmongery and other materials were retained; a bronze-clad reception desk was introduced to the reconfigured reception area, redesigned to improve the flow of traffic. Travertine was selected to match the existing finishes in the entrance lobby and used throughout common areas. Design themes from the exterior of the building were used in the interior design: a series of reliefs inspired by the unique carvings on the outside of the building was created for the interior, which now features cloud and wheatsheaf designs as NEED TO KNOW well as industrial motifs. Design practice: Aukett Swanke Project location: London Sector: Office/Commercial

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he project encompassed the original art nouveau building which once served as a grand residence for exiled aristocrats as well as a stunning new building to increase the footprint of the grand hotel. The double-height lounge is the heart of the chateau and is both glamorous and pared-back. New plaster mouldings similar to the original have been introduced while hand stencilling pays homage to the earlier decoration to the walls. Original features include the stained glass windows while antiques from the owner’s collection are on display. The furniture is inspired by the Belle Époque in a sophisticated palette of warm neutral tones and azure blue accents while a bronze Art Nouveau fretwork stands at the far end of the lounge. The 101 bedrooms in the old building have been wholly refurbished. The restful and refined interiors feature subtle French grey and dark oak, modern Nouveau-style rugs on herringbone oak floorings and classic furnishings. Historical photographs of the hotel emphasise the heritage of this grand old residence. In the new building, the 96 guest rooms and suites are more contemporary in style; many have terraces looking on to the garden with its historic planting. Imposing grey leather padded bed heads and dark timber cabinetry contrast with cream leather padded doors and a mirrored bathroom wall, which reflects the beautiful NEED TO treetop views outside. KNOW Design practice: MKV Design Project location: Lausanne, Switzerland Sector: Hotel





he owner of this three-bedroom apartment wanted to maximise space in this property which used for family holidays. Against a colour palette of monochromatic warm grey, accessories with splashes of yellow were added to provide colour and life. The hallway smartly conceals a modern panelled wall unit in metallic grey/beige with long vertical brass grooves that serve as handles. A coat closet and electric panel are also obscured by this elegant unit. The den serves as a study and also accommodates sleeping guests with a comfortable sofa bed. A sliding panel smartly obscures the TV screen so that the room, with its soothing colour effects, creates an inviting and warm environment. The kitchen is fully equipped with the tools of the trade, perfect for those who love to cook. A double pocket door elegantly closes off the cooking area from the living room. NEED TO KNOW A cool cream Calacatta marble top sits upon a brass base with Design practice: wooden legs, and creates a sleek Annette Frommer and smooth dining table. The result Interior Design is an elegant yet comfortable piedProject location: Ă -terre for a stay in one of the Rachavia, Israel oldest cities in the world. Sector: Residential

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he blueprint project is an innovative working environment to facilitate co-working for tech start-up companies; it also serves as an accelerator space for a minimum of ten B2B start-ups, each on a six-month programme. The space consists of two half floors of Cornwall House in Taikoo Place – around 1,350 square metres in total. The accelerator space is housed on one floor while the coworking space is on the other; the two are interconnected by two external staircases. The design team seized the opportunity to respond to the industrial nature of the building while answering the client brief to create a fun and innovative workspace that would work for different users. It would be an oasis among the corporate environment it stands in. The designers used flexibility, transparency as key planning principles with the aim of creating privacy without building walls. Function and materiality were fused to create an inspirational and invigorating environment. In the interior, raw, natural and warm materials with injections of colour were introduced. The result is a new relaxed workspace where ideas can fuse within a flexible, open and interconnected space. n

NEED TO KNOW Design practice: PDM International Project location: Hong Kong, Hong Kong Sector: Office



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MOVING TOWARDS DEMENTIAFRIENDLY DESIGN Interior designer Dan Smith evaluates dementia-friendly environments for organisations; here he shares advice on creating more accessible interiors


get asked all the time “what makes design dementia-friendly?” and in truth it’s probably one of the hardest questions to answer quickly. There are so many factors that must be considered of a designed environment to make it accessible. Colour and materiality are really important to ensure that environments have a suitable level of contrast, as well as clever use of wayfinding and signage to guide the user around the venue. Steps, ramps, toilets, furniture and service points all need careful consideration during the design process too. All of these are irrelevant though if you don’t invest time in the lighting design: we all know that poor lighting can reduce sales in a store environment, or make for an uncomfortable restaurant – the same applies to accessibility. Bringing together all of these elements and carefully curating the design is key to a good scheme. Our London-based creative studio focuses on accessibility and dementia. We audit venues, spending time with our clients and their customers to really understand how the building works, before producing a comprehensive report on ways in which venues can be made more accessible to people 37


A term that first came to prominence in the UK in the 1980s, the social model of disability sees the way society is organised as the key contributing factor in disabling people. This includes poor attitudes to disability and barriers, such as poor design, which prevent those with medical conditions from fully participating in society. In removing those barriers, society can give those with medical conditions or impairments equal opportunities. The social model of disability contrasts with the medical model of disability, which views the disability as the problem and aims to fix it.

living with dementia. Things we cover include looking at creative ways to introduce contrast around openings – making it easier for people with visual impairment to navigate. We also look at furniture and make practical proposals for adapting your signage, including the use of sentence case copy and sans serif fonts which are proven to be easier to read. With the built environment we comment on how changes in flooring materials or colour can become a trip hazard – as people with visual impairment can see this as a step or change in height. We offer creative alternatives, helping our clients to become more accessible without compromising their brand ethos and we certainly don’t use a ‘cookie cutter approach’ to each venue. Celebrate what makes your brand different! All of the work we do derives from three core principals: social design, the social model of disability and evidence-based design. The social model of disability is the belief that it is the way in which society is organised that ‘dis-ables’ a person, rather than their impairment or illness. We refer to academic research, and current legislation to support our proposals, helping businesses conform to the Equality Act 2010 in the most creative ways possible. Much to popular belief – remaining accessible doesn’t have to be costly and doesn’t have to stifle creativity. The challenge for us, as designers, is to bring together dementiafriendly design principles in a creative way, while retaining the brand identity. There is no right answer or ‘cookiecutter’ approach to each design scheme – it is merely about getting the right levels of contrast between the colours 38 Healthcare

and textures you do use and how to apply them in the correct way. We recently held a design seminar in Falmouth, showing businesses how to work together to make Cornwall a dementia-friendly community. We had talks from lighting, wall-coverings, flooring and fabric suppliers about how they’re developing ranges that are specifically dementia-friendly. The event received really positive feedback and we are considering more for other parts of the UK. Many businesses are becoming more aware of the need to become more accessible as our ageing population grows in size. Many suppliers and designers are becoming aware of the need to build accessible environments for an ageing population. With our population ageing year-on-year, there is a need to consider the future – and governments and businesses are looking to designers and architects to address this need. Having knowledgeable suppliers to the industry, with a diverse range of accessible products means that designers can create much more creative and accessible environments for people living with dementia.


For more information contact Dan Smith at DanSmith.Design

With more than $1-trillion worth of projects by 2022, the GCC is one of the fastest-growing construction and infrastructure market. Partnering with the main B2B events for constructors in the Middle East, Design42Day can showcase your company to the local decision makers. If you believe your company has the potential to expand in this market contact us at

GET ME 2 THE TOP The annual SBID student competition: UK edition

Now open for 2018

The national annual contest aimed at finding innovative, talented students and developing nurturing relationships with potential employers.

E: | W: | @GM2TT



A SPOTLIGHT ON TALENT The latest winners of SBID’s Get Me 2 The Top student competition were announced recently at a glittering ceremony in Kiev


he British Ambassador’s residence in Kiev was the setting for a night of celebration as the winners of the Ukraine edition of SBID’s Get Me 2 the Top student competition were announced on 17 March 2017. Developed to find local innovative and talented students, the competition was originally launched in the UK to nurture relationships between talented students and potential employers, bridging the gap between learning and earning. Now the Ukraine edition offers talented students the same opportunity. Each of the category winners of the Ukraine competition receives a

year-long mentorship with a leading design practice. The overall winner receive a three-month, all-expensespaid internship with UK architecture and design firm Jestico + Whiles. The winners each receive an SBID associate membership for one year. The 2017 competition was separated into residential design, public space and product design with a winner chosen in each category. Finally, a fourth overall winner was chosen from across the entries. Turn the page to discover the winning projects.


ABOUT GET ME 2 THE TOP UKRAINE The panel of judges includes designers and creative’s form the UK and Ukraine, including Nataly Bolshakova, the SBID Ukraine Director; product and interior designer Valeriy Kuznetcov; Annie Sloan, Annie Sloan, designer and colour expert; Wendy Anderson of University of the Arts London and SBID founder and interior designer Vanessa Brady OBE. The competition is sponsored by British Airways, Intelcity, Domio, Leks, ProPm, UAL, Donstream, Nataly Bolshakova Interior Design, 7Ci group, Poliform and Reynolds&Reyner.

Find out more at


OVERALL WINNER Liuba Kushnir, Kyiv National University of Technologies and Design The accolade of overall winner was awarded to Liuba based on her attention to detail and ability to follow the brief. Brief: To design a London apartment within the budget of ÂŁ50,000.

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PUBLIC SPACE Winner: Julia Artyukh, Kyiv National University of Construction and Architecture Brief: To design an office space for a young interior design company within the budget of £70,000


PRODUCT DESIGN Winner: Stanislav Boichuk, Lviv National Academy of Arts Brief: To design any item of your choice for residential or public use Product: Steblo Hanger

44 Education


RESIDENTIAL DESIGN Winner: Natalia Drachenco, Kyiv National University of Construction and Architecture Brief: To design a London apartment within the budget of £50,000.


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A High Court ruling relating to architects’ drawings brings the issue of creative originality into focus, as legal expert Suzi Sendama explains


he High Court has held that copyright was infringed in a case involving architects’ drawings used for planning permission where the ultimate development was undertaken by a third party1. The case was brought by a property developer who had obtained planning permission to build student accommodation in Sheffield but had been unable to secure the finance to complete the project. The planning permission had been granted on the condition that the development would be carried out in accordance with specific drawings submitted as part of the planning application process. Those drawings had been posted by the local authority on its website for public inspection. The site was then sold to another developer, which engaged its own set of architects to complete the project, but which to some extent relied on the original drawings. The Court not only considered whether the copyright in the original architects’ drawings had been infringed but also whether the planning permission belonged to the original developer and whether the architects’ drawings were sufficiently original to attract copyright. WHAT IS COPYRIGHT? Copyright is the intellectual property right which protects (among other things) original artistic works, including illustrations. In the UK, it arises automatically without the need for registration and prevents others from

using the work without the copyright owner’s permission. Copyright works can be monetised by licensing and/or selling those works to others. In this case, the original architects had retained the copyright in the drawings they produced but had provided a licence to the original developer to use them. For the purposes of bringing proceedings, the architects assigned the copyright to the claimant developer. THE COURT’S FINDINGS The Court confirmed that planning permission attaches to the land itself and that there are no statutory or intellectual property rights in it which can be withheld or sold. Anyone was entitled to use the planning permission provided that they satisfied the planning conditions. The defendant developers claimed that there was no copyright in the original architects’ drawings because they were, to some extent, dictated by the shape of the building and other constraints and were otherwise logical and utilitarian. However, the Court ruled that copyright did subsist and that the bar for originality was not high. The Court also held that, despite the defendant developers engaging their own architects, there were instances of infringement in their use of the original architects’ drawings. PRACTICAL CONSIDERATIONS The case highlights a number of issues to be borne in mind when a site is sold with the benefit of planning permission.

From an architects’ perspective, the case serves as a reminder of how your intellectual property rights can be enforced if a new developer takes over a project and wishes to engage new architects. If architects, whose work was submitted as part of a planning permission application, refuse to provide a licence to a new developer for their drawings to be used for the development, a new planning permission application is likely to be necessary using fresh drawings which are not based on the drawings from the original planning permission application. Signature Realty Ltd v Fortis Development Ltd and another [2016] EWHC 3583 (Ch), 17 February 2017

ABOUT MISHCON DE REYA LLP Founded by Victor Mishcon in a oneroom office in Brixton in 1937, Mishcon de Reya LLP has offices in London and New York, with over 400 lawyers offering a wide range of legal services to companies and individuals.


Mishcon de Reya LLP can help you to license or assign or your copyright works. For further information on any of the firm’s services, please contact Suzi Sendama, suzi.sendama@, +44 (0)20 3321 6794.


eSociety Volume 6 Issue 2  

eSociety is the official magazine of the Society of British and International Design (SBID); the UK’s professional accrediting body for the...