Recognising excellence in architecture and design, Asia's prestigious A&D TROPHY AWARDS 2017 by Perspective magazine has announced its 2017 winners
The 2017 gala presentation evening for the A&D Trophy Awards 2017 was successfully held in Hong Kong. Winners this year ranging from international architecture firms to startup design practices, such as Aedas, Kohn Pedersen Fox Associates, Barrie Ho Architecture Interiors, PDP London, Neri&Hu Design and Research Office, Cheng Chung Design, via architecture, Nelson Chen Architects, Linehouse, who joined other over 200 guests to celebrate the very best in the design industry.
Neri&Hu Design and Research Office has won multiple awards from Architecture to interiors, including the Best of Best award for Suzhou Chapel in China. Singapore's The Warehouse Hotel by Asylum Creative was awarded Best of the Best in Interiors category, while the best in Product Design was given to Roca's Inspira collection, and Hannah Chu from Hong Kong Polytechnic University was recognised with her Zion chair in Students category.
Best of Category awards and Certificates of Excellence were also given in each category. One Plus Partnership, Hirsch Bedner & Associates, NC Design & Architecture have made their names to the winning list with projects spread in Hong Kong, China, Asia and overseas.
Winners were called to stage to collect their trophies, award certificates and yearbooks at A&D Trophy awards.
Held at hmv Kafé Flagship Store, Causeway Bay, Hong Kong, the exclusive glamorous gala night and award ceremony are attended by shortlisted award winners, international judges, renowned architects and designers, as well as board members from leading local architect and design associations. Created in 2004 to celebrate excellence in architecture, interior design and product design across Asia-Pacific and beyond, the celebration has become the must-attend event for the architecture and design business.
This year has seen a boom in the interior design category, in terms of both quantity and quality. China has topped the list, with projects not only in major metropolises such as Shanghai and Guangzhou, but also second-tier cities like Changsha and Wuhan. Beijing’s INS Architecture Studio, Shenzhen-based Matrix Interior Design, to name just two, are among the many practices acknowledged by the international judging panel.
Full details of the winners and projects can be found here, and click here for more photos of the awards.
Hong Kong Interior Design Association (HKIDA) hosts annual gala dinner and awards ceremony in recognition of the industry’s best
The Asia Pacific Interior Design Awards (APIDA), presented by the HKIDA, have been a driving force in discovering and nurturing young interior design talents in Asia Pacific for the past 25 years. They are among the most prestigious awards of their kind in Hong Kong – a benchmark of achievement for many young interior designers.
[caption id="attachment_19648" align="alignnone" width="770"] (From left) Louisa Young, Vice Chairman of HKIDA; Joey Ho, Chairman of HKIDA; Horace Pan, Vice Chairman of HKIDA; and Enoch Hui, Chairman of APIDA 2017, officiated the awards ceremony[/caption]
This year’s ceremony marked the awards’ silver jubilee this year, and was held on November 23 at Hong Kong Convention & Exhibition Centre, with 300 industry professionals and guests joining forces to celebrate the creative spirit of interior design and propel the industry forward.
[caption id="attachment_19649" align="alignnone" width="770"] (From left) Guests including Enoch Hui, Chairman of APIDA 2017; Prof. Patrick Lau Sau Sing, SBS, JP; Timothy Cheng, HKIDA Member; Ivan Dai, HKIDA Fellow Member; Janet Cheung, Vice Chairman of Hong Kong Fashion Designers Association; Tino Kwan, Local Judge of APIDA 2017; Steve Leung, President of IFI & HKIDA Fellow Member; Victor Tsang, Head of Create Hong Kong; Ron Leung, Chairman of Hong Kong Designers Association; and William To, Local Judge of APIDA 2017, celebrated the industry's best[/caption]
The night concluded with the awards presentation, when Gold, Silver and Bronze awards were given to winners in 13 categories, including Hotel Space, Installation and Exhibition Space, Living Space, Public Space and Shopping Space. They were chosen by a panel of local and international interior design professionals.
[caption id="attachment_19651" align="alignnone" width="770"] (From left) Enoch Hui, Chairman of APIDA 2017; Kinney Chan, Fellow Member of HKIDA; and Horace Pan, Vice Chairman of HKIDA, performed as a band to celebrate the 25th anniversary of APIDA[/caption]
“APIDA 2017 received 700 submissions from the Asia Pacific regions including those from mainland China, Hong Kong, Taiwan, Japan, Singapore, Malaysia, Thailand and Macau,” said Joey Ho, chairman of HKIDA. “Once again, APIDA attained new standards and will no doubt set design trends in the region.”
For the list of winners, visit here.
Maxime Dautresme’s company A Work of Substance has injected renewed excitement into the Hong Kong boutique hotel landscape with The Fleming, offering a quintessential cruise through 1970s design and a clever exploration of the city’s nautical nostalgia
[caption id="attachment_19452" align="alignnone" width="800"] Nautical-feel lifts are all reminiscent of Hong Kong[/caption]
Maxime Dautresme is sitting at a table in Osteria Marzia, the Italian eatery at The Fleming, Hong Kong. He is all unflappable scruffy chic: a motorcycle helmet is tucked under one arm and a canvas satchel at his feet. But the cool exterior belies a perfectionist’s streak that emerges as he makes his way through the hotel, where his design agency A Work of Substance has been engaged in a two-year project. The agency’s creative director and co-founder, Dautresme admits to a healthy degree of fastidiousness. He constantly adjusts accessories and reorganises linens. He frets over a 14-hour playlist he created for the reception that’s not playing. He wonders where the new iPod is. “I micromanage. I’m involved in all the parts.” And just ahead of The Fleming’s re-opening late last month, he had been micromanaging – but not without an equally healthy dose of self-aware humour.
[caption id="attachment_19453" align="alignnone" width="800"] The nautical theme is maintained in the Osteria Marzia restaurant with lamps curved like the ribbing of boats[/caption]
The Fleming began life as a typical mid-rise block in the booming early ’70s, lean on the kind of pricy glass now associated with Grade A offices and upscale residences. Though the building’s history only goes back 40 years, it was on the harbour-front before later land reclamation, and that position was Substance’s jumping off point for the hotel’s reinvention. “The maritime feel was obvious,” explains Dautresme. “For that maritime concept we looked at what needed to be done for a hospitality project, and the values that came out were of practicality – because this is a business hotel – of a celebration of culture without being a cliché, and of the social. To be a place to come and socialise.”
[caption id="attachment_19454" align="alignnone" width="550"] Head of design practice A Work of Substance, Maxime Dautresme[/caption]
He and his young team decided the way to approach a redesign was from the outside in, the only solid demand being that the final product incorporate a strong F&B element that would drive traffic and rejuvenate the street in the future. Dautresme credits owner John Hui with the foresight to plug a hole in the market currently dominated by just a few properties (such as The Upper House, Pacific Place). “He saw a shift in hospitality, where there was a need for a neighbourhood hotel with boutique appeal. It was a challenge to make that shift because they were running at 98 per cent occupancy,” Dautresme notes.
This is an excerpt from the "Of sea, style and substance” article from the November 2017 issue of Perspective magazine.
Hong Kong’s leading conference for creatives, Business of Design Week, returns with a bigger than ever line-up of innovators – and a partnership with Italy Business of Design Week (BODW) is organised by the Hong Kong Design Centre (HKDC) and the Hong Kong Trade Development Council (HKTDC), with CreateHK as major sponsor. The week-long annual conference on design, innovation and brands runs from December 4 to 9, and will once again put the design world under the spotlight, gathering business leaders and international designers from around the world to share their opinions at a wide array of insightful programmes. Themes include Brands & Innovation, Communication & Design, Product & Design, Design for Asia, Space & Design, Culture & The City and, for the first time, Heritage & Design.
[caption id="attachment_19514" align="alignnone" width="770"] Massimiliano and Doriana Fuksas[/caption]
A star-studded line-up of professionals and experts from the business of architecture will be in attendance, including Massimiliano and Doriana Fuksas (Studio Fuksas); professor Jacques Herzog (Herzog & de Meuron); Alberto Meda (Alberto Meda Design); Mario Bellini (Mario Bellini Architects); Sou Fujimoto (Sou Fujimoto Architects Inc.); Marco Balich (Balich Worldwide Shows); Ben van Berkel (UNStudio); Dr Paul Thompson (Royal College of Art); artist Edoardo Tresoldi; Mitja Borkert (Automobili Lamborghini S.p.A.); Oscar Farinetti (Eataly) and Rocco Yim (Rocco Design Architects Ltd).
[caption id="attachment_19508" align="alignnone" width="770"] Kartell LED lamps designed by Alberto and Francesco Meda[/caption]
With design heritage and sustainability forming a major part of BODW’S focus, a string of designers and speakers, including Lapo Vettori (Paolo Vettori Daughter & Sons), Giulio Vinaccia (Giulio Vinaccia & Associates), Jacopo Foggini (Galleria Jacopo Foggini), musician and independent producer Zhu Zheqin aka Dadawa (KANJIAN Creation), will contribute to the Heritage & Design session.
[caption id="attachment_19509" align="alignnone" width="550"] Italian artist Jacopo Foggini reinterprets the sixteenth-century church of San Paolo Converso with the huge heart Devotion[/caption]
BODW has also formed partnerships with different countries to bring cutting-edge design to the limelight. This year sees Italy returning as official partner country after 10 years, with a group of leading Italian and international designers across various fields to present at the conference and host exhibitions and seminars. With the theme Italy Makes a Difference, BODW 2017 will explore the innovations and creativity of Italian architecture, interior design, automobiles and luxury goods, as well as unlock new business opportunities for those attending.
[caption id="attachment_19511" align="alignnone" width="770"] The M+ museum in West Kowloon Cultural District designed by professor Jacques Herzog of the architectural firm Herzog & De Meuron[/caption]
The multi-disciplinary event provides a valuable platform for professionals across industry sectors to network, exchange ideas and explore collaborations. Programme highlights include the BODW summit, a gala dinner and networking events, as well as a fascinating roster of satellite events such as DesignInspire, deTour 2017 and Fashion Asia 2017 taking place throughout Hong Kong.
[caption id="attachment_19516" align="alignnone" width="770"] Guest speakers this year include Hong Kong renowned architect Rocco Yim whose new project Hong Kong Palace Museum forms part of the West Kowloon Cultural District blueprint[/caption]
The HKDC also organises the annual DFA Awards, taking place from December 6 to 8, which recognise outstanding designs that have an Asian perspective produced by both established designers and emerging talents from Hong Kong and across the region. A presentation ceremony at the BODW gala dinner will be held on December 8 to honour this year’s winners, including Japanese fashion designer Yohji Yamamoto (DFA Lifetime Achievement Award 2017), founder of Amanresorts Adrian Zecha (DFA Design Leadership Award 2017) and Hong Kong design guru Alan Chan (DFA World’s Outstanding Chinese Designer 2017). For more information about this year’s programme and tickets, visit here. Business of Design Week 2017 Date: December 4-9 Venue: Hong Kong Convention and Exhibition Centre
Car interiors have come a long way, marrying look and feel with maximum safety, but what will the advent of the self-drive vehicle herald in terms of motoring comfort? More room to move perhaps
In 1917, the average saloon car accommodated four to six average-sized humans in two rows. Instrumentation and controls were positioned within easy sight and reach of the driver. Window area was maximised for all-round visibility. Out of necessity, interior surfaces were made from wood, leather, textile and metal. Sound familiar?
[caption id="attachment_19388" align="alignnone" width="800"] State-of-the-art luxury in 2017 – the wood, steel, leather and textile interior of the Rolls-Royce Phantom (Photo. Rolls-Royce Motor Cars)[/caption]
That’s not to say nothing has changed in a hundred years. Over the last 70 years, for instance, cars have progressively become lower, forcing drivers and passengers to adopt a reclined, close-to-the-floor seating position. Doors have become thicker and beltlines higher to accommodate side-impact beams, airbags and motors for powered windows and locks. Injection-moulded plastics have allowed for the surfaces around driver and passenger to be integrated into a more-or-less continuous, soft-touch form. Sit in almost any 2017 saloon car and the sum total of all this evolution is obvious: while undoubtedly a safer, physically more comfortable place to be than its forebears, the car has also become more claustrophobic, with driver and passengers hemmed in by gun-slit windows, vault-like doors, and thick, blind-spot inducing pillars.
[caption id="attachment_19389" align="alignnone" width="800"] Maserati Ghibli Ermenegildo Zegna Edition: A combination of leather and distinctive Zegna silk give this contemporary luxury-cum-sport interior a fashion industry crossover twist (Photo. Maserati)[/caption]
THE SAME – BUT DIFFERENT
Naturally, fashion too is a powerful influence on how car interiors look and feel. Though the designer’s basic material palette of wood, leather, metal and textile has remained almost static, their treatment fluctuates – careening between
futurism, retro, stark practicality and luxury, depending on the brand, prevailing social preferences and the market position of the individual model. Epitomising the very peak of the market is Rolls-Royce. No other car so clearly articulates what has remained the same in interiors since 1917. Even in the latest Phantom, Wraith or Ghost, dashboards are veneer boards, everything that looks like chrome is chrome, and everything that looks like leather is leather. What was hand-wrought in these elemental materials 100 years ago out of necessity is now a matter of choice – and a substantial price tag befitting ‘the finest of the fine’.
[caption id="attachment_19390" align="alignnone" width="800"] The Audi Aicon concept car paves the way for an autonomous future – with swivelling, lounge-type seats (Photo. Audi)[/caption]
But even here, a slow transformation is underway. Though the materials in the latest Rolls-Royce are traditional, their forms have become less baroque and more minimalist over the last two decades. And subtly creeping in behind the traditional facade is cutting-edge technology: an infotainment screen concealed behind a veneer flap on the dashboard; fibre-optic ‘stars’ embedded in the wool headliner; a four-camera panoramic view system; and the inevitable Wi-Fi.
Carmakers lower down in the market hierarchy may not handcraft their interiors; the ‘veneers’ and ‘leathers’ in a mid-range saloon probably have more in common with petrochemicals than trees and cows – but they still strive to at least simulate the Rolls-Royce experience. Where simulated wood, leather and metal isn’t present, simulated carbon fibre or glossy piano-black finishes are substituted as a gesture toward futurism.
This is an excerpt from the "Interiors Motives” article from the November 2017 issue of Perspective magazine.
Young Dutch hospitality brand citizenM debuts in Asia with citizenM Taipei North Gate, its 11th hotel to date
Since its inception in Amsterdam in 2008, citizenM has been revolutionising the traditional hospitality by infusing its core DNA – contemporary design, easy accessibility, cutting-edge technology and art-inspired communal area – all in an affordable price into its chain of properties in Amsterdam, Rotterdam, London, Glasgow, Paris and New York. This year marks a significant milestone for the brand as it forays into Asia with its inaugural hotel, citizenM Taipei North Gate, a collaboration with Artyzen Hospitality Group.
[caption id="attachment_19237" align="alignnone" width="425"] Standing 26 storeys, citizenM Taipei overlooks the Tamsui River with unobstructed view[/caption]
Overlooking the historical North Gate, citizenM Taipei North Gate is centrally located with only a few minutes’ walk to Taipei Main Station and Airport Express terminal and adjacent to the popular Ximending shopping area. With 267 smart rooms, the hotel offers view of Tamsui River and the mountains beyond.
Adopting a vertical rather than horizontal expansion, the hotel signals a departure from the brand’s signature modular construction method. This is also the brand’s tallest hotel so far with 26 storeys complemented by LED-lit contemporary exterior. “This is traditionally built as we have observed the restrictions with construction and the limit with height to stack up in Taiwan,” says Robin Chadha, Chief Marketing Officer of citizenM. “But look at the contemporary exterior, the black facade versus vertical lighting. It’s a good starting point for architecture.”
[caption id="attachment_19233" align="alignnone" width="770"] The wall-to-wall windows allow guest to enjoy the best view of the Taiwan capital[/caption]
All citizenM hotels rooms are equipped with XL size beds, wall-to-wall windows, power showers. But it is the smart technology that sets them apart from the rest.
The intuitive and handy in-room tablet moodpad enables guests to adjust everything from the television, alarms to room temperature, blinds and ambient lighting, to just the way they like it.
[caption id="attachment_19236" align="alignnone" width="770"] Guests are greeted with a anime art piece by Taipei graffiti artist, ANO, at the exterior entrance[/caption]
citizenM is also dedicated to bringing art into local community. Before walking into the stylish entrance with self-check-in kiosks and its signature oak-cladded spiral staircase, guests will be greeted with a vibrant anime and pop culture art piece by Taipei local graffiti artist, ANO, at the exterior entrance.
The living-room lobby concept also plays a pivotal role in welcoming guests, making it a communal space for relaxing, socialising and working. The living room is filled with local items and souvenirs, books and the latest collection of iconic Vitra furniture pieces.
The focus on art and style is prominent throughout the hotel with art sourced from around the world, including works from famous Taiwanese photographer Chou Ching Hui’s Animal Farm collection and Taiwan contemporary artist Hung Tung-Lu’s interactive art piece Lightbox.
[caption id="attachment_19232" align="alignnone" width="770"] Taiwanese photographer Chou Ching Hui’s Animal Farm is the centrepiece in the hotel's living room[/caption]
The next step for the hotel is to invite a group of local art students to create artworks to be displayed in the rooms and adorn the facade. “Our philosophy is to give back to the community. We hope to give local artist a platform to showcase their talents,” comments Edmond Ip, Vice Chairman of Artyzen Group.
One other signature to the Taipei property is the noodle station in canteenM, the dining and cocktail space inside the Living Room on the first floor that opens 24 hours a day. Aside from barista-made coffee, pastries, light sushi lunches and hot feasts, guests can prepare their own Asian-flavour cup noodle for the late night snacks.
[caption id="attachment_19234" align="alignnone" width="428"] The noodle bar is a first for citizenM where guests can mix their own bowl of instant noodle[/caption]
After setting the footprint in Taipei, citizenM will continue its regional expansion in Asia. The next to open will be Shanghai and Kuala Lumpur in 2018, with Jakarta and Hong Kong in the pipeline.
Allan Yip, Vice-President of Marketing, Distribution and Brands at Artyzen Hospitality Group says the brand is catering to the changing need of the customers, whether for business or travel, “For us, it’s key to get cities like Shanghai, Beijing, Singapore and Hong Kong. Lots of business hotels still run traditionally, but look at our product, our DNA, location and view, I think we’re in a strong position.”
[caption id="attachment_19240" align="alignnone" width="395"] The signature oak-cladded spiral staircase connects the stylish entrance and the living room[/caption]
The rapid development of artificial intelligence is matched only by concerns – some well-founded, some not – about its impact on human creativity and more generally our society. Two Hong Kong creatives – product designer Johan Persson of C’Monde Studios and architect Alexander Wong, founder of his eponymous practice – eschew fears of a Kubrick-esque cybernetic takeover to consider a vision in which AI plays an increasingly important and complementary role, at least in the design process
Designers often pride themselves on their creative ingenuity and ability to translate complex abstract thoughts into real objects. As artificial intelligence (AI) becomes more pervasive, designers are becoming nervous – for good reason. Fortune predicts the value of AI to grow to US$70 billion by 2020. We are living in an AI boom, where machines mimic the human brain and, in many cases, outperform it.
[caption id="attachment_19210" align="alignnone" width="550"] Johan Persson[/caption]
TOOL FOR VALUE INNOVATION
Human-centred innovation with true competitive value begins with developing an understanding of customers’ unmet or unarticulated needs. One of the greatest struggles for designers has long been creating objects that work well for individuals, all of the time. Enter AI.
AI stretches innovation by allowing designers to cater to, and anticipate, individual users’ needs. Emotion-sensing AI technology built into products detects users’ emotions and drives positive behaviour change. A brilliant example is Emospark, a cube-shaped AI home device that uses language analysis and facial recognition to assess human emotions and map an emotional profile to deliver selected music, video and images to enhance the mood.
Products are no longer just performing basic functions, but are aware of their surroundings and users’ emotions, and can act upon them.
[caption id="attachment_19211" align="alignnone" width="550"] Alexander Wong[/caption]
The future of design will be very much affected by the use of artificial intelligence, and it’s causing a lot of undue fear and stress in our profession. People are asking questions like “Where will AI lead us?” and “Who will survive this seismic shift in our profession?”
FAST AND FURIOUS
In fact, AI will speed up the design process by solving problems faster, producing more options to choose from. It will focus on a more solution-driven or context-specific way of designing, and it give us the chance to remove all historical clichés. AI will really enhance the human ability to design and not diminish it in any way – we just have to learn how to adapt ourselves as we go along and make the most of this new technology. So being frightened of AI is not the way forward – we cannot be Luddites!
[caption id="attachment_19212" align="alignnone" width="770"] Dragon bench by Joris Laarman[/caption]
This new technology will also indirectly include more people outside the design industry; they’ll have a real say in “designing for the future”, particularly through findings from big data. AI could also learn from – and predict – human behaviour, and aid the process of design evolution through the collection of big data at each stage of the design process. New technology will also accelerate the exchange of ideas by connecting everything globally on the net.
AI streamlines the design process by removing undue complexities from designers’ everyday lives, so we as a profession can spend more time experiencing our own designs or those by others which will in turn improve the quality of our design thinking.
This is an excerpt from the "AI: Friend or foe?” article from the October 2017 issue of Perspective magazine.