The SIT Furniture Design Award has announced the date and location of its annual awards ceremony and gala dinner, set for Friday, November 21st, 2025, in Basel, Switzerland, a city internationally recognized for its architectural heritage and vibrant cultural scene.
This year’s ceremony will be held at the Elisabethenkirche, a 19th-century neo-Gothic church that has been transformed into a contemporary cultural venue. The choice of location reflects the award’s core values, celebrating innovation while honoring tradition, and speaks directly to one of today’s most pressing design topics: adaptive and reuse design.
The evening will highlight the achievements of the 2024 and 2025 SIT Award winners, with formal trophy presentations, a seated gala dinner, and an exhibition of winning projects. Attending winners will be invited on stage to receive their certificates, while also enjoying the opportunity to connect with fellow designers, jury members, media, and the organizing team.
Each winning firm will receive two complimentary tickets to attend the event. The reservation platform will open in August, with more details to follow.
As one of the key international recognitions in the field of furniture and interior design, the SIT Award Ceremony 2025 is expected to gather leading voices and emerging talents from across the globe for an evening dedicated to design excellence and creative exchange.
The Saddle Stool curves, folds, and flows like it’s in motion, even when perfectly still. Crafted from humble birch wood, it feels anything but rigid. There’s a tension to it, a softness carved out of something solid.
We spoke with designer Elay Dagan, winner of the SIT Furniture Design Award for Emerging Furniture Designer of the Year, about how this sculptural piece came to life. From experimenting with scraps in his home workshop to learning when to stop refining, Elay shares how the stool took shape, what drives his design approach, and why the space around the object matters just as much as the object itself.
My name is Elay, I’m 25 years old. I was born and raised in Tel Aviv—a city I truly love. It gave me space, freedom, the sea, and interesting people. I’m the eldest in my family, with two younger sisters, and I grew up in a house that was always in motion. My father is a construction project manager, and my mother is an industrial designer. We did almost everything ourselves at home—fixing, building, painting, even moving walls.
I was never sure I would pursue academic studies. At first, I thought I would simply become a craftsman—learning through hands-on experience. I worked in a carpentry shop as an apprentice, and later began working with Eden, an extraordinary sculptor who specializes in concrete restoration. We created textures for public buildings, cast benches and sinks, and restored historic structures. Every day, I learned something new.
The turning point came when I began leading recycling workshops. That’s where I met a friend who was then my partner—she was studying industrial design. One day, she simply decided to sign me up for the Shankar entrance exams, without telling me. When the brief arrived, I sat down at the table—and didn’t get up. I felt a kind of inner storm, almost like a revelation. I realized that this is what I want to do—to design.
Today, when I reflect on my design approach, I feel it constantly moves along the axis between technology and craftsmanship. I’m deeply curious about new technologies, software, and digital tools. I love to explore, learn, and dive deep into anything related to advanced and precise production. At the same time, I believe in the power of human touch. For me, the soul of an object comes from the material itself—from the small scratch, the imperfect edge, and the traces left by the hands that shaped it. That’s what gives an object life and character.
This connection—between mechanical precision and the sensitivity of handcrafted work—is at the heart of what I strive for. Sometimes I approach a material and begin working without overthinking it, simply letting my hands lead the way. Most of the time, they know what to do—and they take me exactly where I need to go.
I created the stool during a design course at the end of my first year. The course aimed to explore materials—how to bend them, cut them, use their properties, and experiment with alternative approaches.
As a personal challenge, I decided to work only with what I already had in my small home workshop—without rushing out to buy new materials. I found scraps of leather, cardboard, paper, and oak veneer, and started combining, gluing, cutting, and bending them. Then, at the end of a long workday, just as I was about to turn off the light, I took a piece of veneer, folded it, added a screw—and suddenly everything clicked. A gesture emerged that I hadn’t planned, but I immediately felt it was the one. That moment, when a simple material bends and becomes something else, is what pushed the entire project forward. I knew I wanted to develop and preserve that exact quality.
The stool’s design expresses motion and flow—rooted in early experiments with bending soft, lightweight, linear materials at a 1:10 scale. At first, I looked for a material that could mimic the thinness of paper but remain strong and durable enough to function as a stool.
Ironically, the breakthrough came when I gave up and decided to express that same movement using a rigid and static material. That choice created a surprising contrast, infusing the project with softness, elegance, and intrigue.
As I continued working, I realized that spatial movement—the air surrounding and within the object—was just as compelling. The void became a material of its own: an active element that “breathes,” envelops, and lends the stool its dynamic energy. The internal volume—the emptiness—became an integral part of the form.
I chose birch wood—a simple, accessible, and relatively inexpensive material—and through sculptural handwork, transformed it into something unique and refined. I deliberately left the interior raw and unfinished, as a tribute to the production process, which combined advanced CNC milling with the immediacy of handcraft. This fusion—between the innovative and the traditional—is, in my view, what gives the stool its modern and vibrant character.
The biggest challenge for me was reaching the point where I truly felt at peace with what I had created. I had countless sketches, each of which could have led in a different direction. I worked under tight deadlines—it was a short project, with a clear finish line—and there was a constant sense of urgency, a need to make final decisions quickly.
Choosing the production method and material was a turning point—I felt it in my body. A kind of internal quiet that signaled: this is it. From that moment on, all the other pieces started falling into place.
Of course, even after that, I faced many crossroads and critical decisions at nearly every stage. Eventually, I realized I needed to stop. Not to overwork. Not to over-polish. To leave it rough where it needed to be—not perfect, but alive. To listen to what the project wanted to become—and let it lead me.
Winning the competition was an incredibly emotional moment for me. At first, I couldn’t quite believe it was real—but when I saw the official announcement, the feeling started to sink in.
The award gave me a deep sense of confidence. It helped me understand that I have a voice, that I have something to say—and that voice is being heard, and it matters. It connected my inner passion with external validation, and gave me a small but powerful sign that I may be on the right path.
I dream of a large workshop filled with all kinds of machines—old and cutting-edge—that allow me to move between worlds and merge material with technology. More than anything, I’d love to work there alongside friends and colleagues—curious people like me, each bringing something different to the table.
And my biggest dream? To present a series of works in a gallery or museum. To create projects that provoke thought, touch people, and tell stories through material, structure, and form. To exist in the space where design meets people and art.
And finally—I want to thank you for this special opportunity, for the recognition and the honor—it’s incredibly meaningful to me. I also want to thank my teachers at Shankar, who guided me, challenged me, and asked the right questions. And a huge thank-you to everyone who supported, helped, and stood by me—you are an inseparable part of this journey, and of this success.
From bioclimatic interiors that breathe with the forest to sculptural seating shaped by ultra-performance concrete, this year’s winners reflect the bold, the functional, and the visionary.
We’re excited to announce the winners of the SIT Furniture Design Award 2025 and even more thrilled to celebrate our fifth edition! With over 400 submissions from 44 countries, this year’s awards highlight the designers and studios rethinking how we sit, live, rest, and relate to the spaces around us. From inventive interiors to standout outdoor concepts, the selected works reflect a thoughtful and inspired approach to design today.
Let’s take a look at this year’s main winners — the projects that truly stood out:
The Interior Designer of the Year award goes to A-01 (A Company / A Foundation), a practice based in both Costa Rica and the Netherlands, for their No Footprint Wood House. Perched along the lush Pacific coast, this bioclimatic structure goes far beyond aesthetics. It blends with its jungle setting, breathes with the landscape, and functions as both a home and a prototype for regenerative design.
No Footprint Wood House by A-01 (A Company / A Foundation)
In the Furniture Design of the Year category, Foster + Partners won for Gather and Tiers, two sculptural collections developed with Barcelona-based concrete experts ESCOFET. Made from ultra-high-performance concrete, these public seating systems offer privacy and flexibility, inviting us to reclaim the outdoors with elegance and intention.
Gather and Tiers by Foster + Partners
Emerging talent is equally celebrated. The Emerging Furniture Designer of the Year title goes to Elay Dagan for The Saddle stool, a sculptural object that captures the illusion of softness within a rigid material. The piece, born of experimentation with movement and material tension, plays with space as much as form.
The Saddle stool by Elay Dagan
Alongside these headlining honors, this year’s competition welcomed an exceptional variety of standout designs: from the serene Floating Bed by Winzeler Holzdesign to the rippling concrete forms of TOPOS Outdoor Furniture Collection by Zaha Hadid Architects. Other highlights include the playful Biscuit armchair by WOWIN.UA, the elegant Ribbon Desk by Scot Distefano, and Canopy House by Studio Mk27.
The selection was made by a prestigious international jury of designers, architects, and educators, including Lilian González-González, Alain Gilles, Nima Bavardi, Christina Chen-Chiao Kuo, Bo Zhang, Richie Moalosi, Fereshteh Haji Gholami, and Javier Palomares, to name only a few. Their collective expertise reflects the award’s global scope and growing impact in shaping design dialogue across continents.
“We created the SIT Furniture Design Award to celebrate excellence in this often-overlooked but fundamental design discipline,” says Astrid Hébert, Co-Founder of the Awards. “What’s truly exciting this year is the extraordinary range, from iconic studios like Foster + Partners and Zaha Hadid Architects to promising new voices like Elay Dagan. It’s a sign that SIT is no longer a niche platform; it’s becoming a key destination for discovering what’s next in furniture and interior innovation.”
As the industry continues to blur the lines between architecture, product, and spatial design, SIT remains a vital platform for designers whose work speaks not just of objects, but of how we inhabit the world. For the complete list of winners and jury bios, visit www.sitaward.com.
The SIT Furniture Design Award, a prestigious platform celebrating excellence in furniture design, is thrilled to announce the addition of three acclaimed design leaders to its distinguished jury: Fereshteh Haji Gholami, Richie Moalosi and Javier Palomares. Their expertise and global perspectives further strengthen the award’s mission to champion creativity, innovation, and accessibility within the international furniture design community.
Fereshteh Haji Gholami is an award-winning architect, interior designer, and university lecturer with an impressive track record of 13 international design awards. She holds a degree in Architecture and Sustainable Design from UPM University in Malaysia and is the founder of KIOSKedia International Academy and KIOSK International Magazine. Her design expertise spans architecture, interior design, furniture, and lighting product design.. A passionate advocate for sustainable design, Fereshteh conducts research on energy efficiency and environmentally responsible architecture and industrial design. She also leads international workshops, seminars, and exhibitions, promoting design excellence worldwide.
Richie Moalosi is a Professor of Industrial Design and the founding Director of the Innovation Centre at the University of Botswana. With over 20 years of teaching experience and a PhD in Industrial Design from the Queensland University of Technology in Australia, Moalosi brings deep expertise in design and cultural innovation. Moalosi collaborates with small businesses, creative industries, and start-ups, helping them develop products, brands, and innovative services – key drivers of the creative economy in Africa and beyond. An accomplished author and speaker, Moalosi has published extensively in international peer-reviewed journals and presented at leading design conferences. He is a fellow of the Pan Afrikan Design Institute and serves as an advisor to the Don Norman Design Awards.
Javier Palomares, based in Pasadena, is the Principal of Curve Ahead Design and a Professor of Product Design at ArtCenter College of Design. A graduate of ArtCenter, he blends craftsmanship with innovation in his work, which has been showcased at events such as High Point Market and Dwell on Design. His conference table design earned Gold at NEOCON, one of the industry’s most prestigious honors. Javier is also passionate about incorporating Artificial Intelligence into design, exploring its potential in prototyping and material visualization. Alongside his practice, he mentors graduate students at ArtCenter, encouraging a human-centered approach to design.
They are joining an already stellar jury featuring Alain Gilles, Founder and Lead Designer at Alain Gilles The Studio, Christina Chen-Chiao Kuo, Creative Director and Founder of Kuuo Living Limited, Bo Zhang, Artist and Chief Designer at Desz Office, Niko Kapa, Design Director of Studio Niko Kapa, Steven Yeung, Founder of Kar, Zhou Yi, Chief Designer at Dayi Design, Lilian González-González, Industrial Design Academic Coordinator at Anáhuac University and Board Member at the World Design Organization, Jing Ju, Design Director at JUJU Studio, Nima Bavardi, Head of Industrial Design Department at KIOSKedia International Academy and Magazine, Stella Hernandez, Assistant Professor in the Environmental Design Department at ArtCenter College of Design, Robyn Self, Founder and Director of Plan-IT Design and IID – The African Institute of the Interior Design Professions, Christoph Guenther, Product and Interior Designer at Dutch East Design, and Sébastien Maleville, Co-Founder and Creative Director at Essential Studio. A full list of the distinguished jury can also be viewed on the website.
“We’re thrilled to welcome Fereshteh, Richie and Javier to the jury,” says Astrid Hebert, Program Director of the SIT Furniture Design Award. “Their global outlook and design expertise will be invaluable in recognizing the most creative and innovative furniture designs. This year’s competition is shaping up to be truly remarkable!”
The SIT Furniture Design Award is now accepting submissions for its annual competition – but time is running out. Furniture designers at every stage of their career are encouraged to submit their work by April 20, 2025. Don’t miss this chance to gain global recognition – visit the sitaward.com to learn more and apply today.
Introducing the SIT Furniture Design Award 2024 Catalogue, a collection of winning designs in furniture and interior design. This catalogue celebrates the winners of the fourth edition of the SIT Award, both established professionals and emerging talents showcasing their innovative creations and pushing the boundaries of form and function. Additionally, the catalogue features exclusive interviews with the “Designers of the Year”, offering unique insights into their creative processes and inspirations.
The catalogue is available to purchase on Amazon and can be downloaded on the SIT Furniture Design Award website.
Explore the future of design through the visionaries shaping it today!
SIT Furniture Design Award, a prestigious international platform dedicated to celebrating brilliance in furniture design and Interior Design, is delighted to announce that submissions for its 5th edition are now open. With a global reach and a mission to recognize, celebrate, and promote exceptional furniture maker, interior designers, brands, manufacturers, emerging talents, and visionaries, the Award honors those who enhance our daily lives with their vision. Focusing on the concept of “Seat and Beyond,” the SIT Furniture Design Award celebrates the strategic thinking, imagination, and creativity that are instrumental in crafting remarkable furniture pieces. Encouraging designers to push the boundaries of design and explore new possibilities, this program sets the stage for global recognition and appreciation of exceptional talent.
“Awarding excellence in furniture and interior design, we’re thrilled to announce the 5th edition of the SIT Furniture Design Award,” said co-founder Astrid Hebert. “With over 400 outstanding submissions last year, we can’t wait to see this year’s entries, especially those championing sustainability. We look forward to celebrating innovative, eco-conscious designs that inspire the future of our industry.”
The jury panel of the SIT Furniture Design Award is composed of influential professionals renowned in the global design community. Alain Gilles, Founder and Lead Designer at Alain Gilles The Studio, brings his innovative approach, while Bo Zhang, Artist & Chief Designer at Desz Office, contributes his visionary perspective. Niko Kapa, Design Director at Studio Niko Kapa, offers his expertise, alongside Christina Chen-Chiao Kuo, Creative Director & Founder of Kuuo Living Limited, Nataly Bolshakova, Founder and Lead Designer of Bolshakova Interiors, Steven Yeung, Founder of Kar, and Zhou Yi, Chief Designer at Dayi Design. Lilian González-González, Industrial Design Academic Coordinator at Anáhuac University of México and Board Member of the World Design Organization, enriches the panel with her academic and international perspectives. These experts, alongside other distinguished members, bring a wealth of experience and diverse perspectives to ensure a thorough evaluation and recognition of excellence in furniture and interior design.
The award is open to submissions on a global level, welcoming entries from designers and emerging talents from all corners of the world. Whether conceptual designs, works in progress, or completed projects, SIT Furniture Design Award invites professionals and students alike to showcase their vision and craftsmanship.
To seize this exciting opportunity, designers are encouraged to submit their entries before the September 8th, 2024 early bird deadline and enjoy a 10% discount, making it the perfect chance to showcase their remarkable designs at reduced costs. From seating and lighting to tables, homeware, and outdoor furniture, the award celebrates diverse design expressions. For further details regarding the submission process, evaluation criteria, and important dates, please visit the SIT Furniture Design Award website at sitaward.com.
Can you tell us a bit about yourself and your background? How did design come to have such an important place in your life? I graduated from Art Center College of Design last year, and currently, I work as an industrial designer based in the Bay Area. Before delving into industrial design, I spent a year studying fashion design, which has deeply influenced my approach to product design. My understanding of color and materials stems from my foundation in fashion. Growing up, my mother ran an art academy where I was exposed to numerous drawings and paintings. We often drew together, forging a strong bond that made art a meaningful part of my life. This experience inspired me to aspire to design products that evoke positive memories, carry profound meaning, and endure over time. Can you elaborate on the concept behind the design of the Otto Lounge Chair? With the shift towards remote and hybrid work becoming the norm, the boundaries between work and personal life have become less clear. I aim to integrate elements that evoke warmth, comfort, and a sense of home into office environments, thereby enhancing the workplace experience. On the other hand, for home settings, I propose solutions that support efficiency and productivity, addressing the common challenges of distractions that often accompany remote work. Can you walk us through the design process? How did the design evolve from your initial idea to the final product? I had initially considered creating furniture suitable for both office and home environments. However, I ultimately decided to move forward with designing a multi-functional lounge chair that could seamlessly transition between these two settings. The initial sketch lacked the soft curvature and cushioning I envisioned, so I dedicated considerable effort to refining its form. This process began with a small-scale cardboard mock-up and progressed to a precise 3D-milled prototype to achieve the desired shape. I particularly focused on ensuring that the wooden elements connecting the cushion and table components complemented the overall design cohesively. How does the Otto Lounge Chair address the need of hybrid living spaces in a post-pandemic world? Otto is a versatile lounge chair designed to offer comfort and functionality that align with evolving lifestyles. With more people working from home and blending their living and working spaces, Otto serves as a multi-functional piece of furniture. Its pivot table feature makes Otto ideal for adapting to the flexible and multifaceted demands of hybrid living spaces, where seamless transitions between work and relaxation are increasingly important. Can you discuss the pivoting table feature and how it perfectly incorporates user needs into the design? The pivot table is a pivotal feature of Otto, carefully tailored to meet user needs. This feature enables Otto to function as a compact workspace for laptops or documents, enhancing productivity in home office settings. What sets it apart is its dual functionality—it can also function as an armrest when not actively in use. 
Can you elaborate on the choice of materials and how they made the cut? I believe the standout feature of Otto lies in the wooden pieces that connect the cushions. I aimed to select a material that could not only create iconic pieces but also harmonize with any environment. Therefore, wood was a natural choice due to its ability to blend seamlessly into various spaces. These pieces were CNC milled to achieve the precise forms required. What were some of the challenges you faced while designing the Otto Lounge Chair? What did you learn from the process? Of course, I spent a lot of time refining the proportions. Since this was my first experience making furniture, I initially lacked knowledge of furniture construction. However, with excellent guidance from class instructors, I learned how to construct and assemble a frame structure. Furthermore, through communication and learning from upholsterers, I was able to overcome these challenges. Congratulations on winning the SIT Emerging Furniture Designer of the Year award! What is next for you and your studio? Are there any new designs you’re working on that you can tell us about? Thank you! It’s truly an honor to win the award, especially the title of Emerging Furniture Designer of the Year. Since graduating, I’ve been gaining valuable experience at a design agency, where I’ve had the opportunity to work on various products. While I don’t have immediate plans for new designs, I look forward to pursuing personal projects in the future, where I can apply the skills I’ve acquired in the industry so far. Please stay tuned for what’s to come. What advice would you offer to new designers entering the field? Since there are tons of furniture out there, With countless furniture options available, it’s essential to think about how your design can be differentiated from the other. As a designer, I believe it’s crucial to not only focus on aesthetic appeal but also to understand and cater to the evolving behaviors and environments of people. Learning from others and asking as many questions as possible are invaluable in this process. I continue to learn new things every day, recognizing that learning is a continuous journey without end. VIEW ALL WINNERS. Welcome to an exclusive interview with Lucas Fialho Caramés, the brilliant mind behind the Poty Armchair, which has won the SIT Furniture Design Award for Furniture Design of the Year. Lucas’s design merges contemporary comfort with traditional elements, resulting in a piece that is as visually captivating as it is comfortable. The Poty Armchair, inspired by the rich craft culture of the Delta Parnaíba, features a solid wooden structure and generous upholstery. Its standout feature is the carnauba straw weave that elegantly encases the armchair, showcasing the exquisite craftsmanship of the region.
This intricate weave enhances the armchair’s aesthetic appeal and celebrates the artisanal heritage of the local community. Each detail reflects the skilled artistry passed down through generations, creating a profound connection to the cultural fabric of the area. The juxtaposition of solid wood, soft upholstery, and handcrafted weaving results in a piece that offers both physical comfort and a tactile, visual experience rooted in tradition.
The Poty Armchair is a celebration of cultural roots through modern expression, exemplifying Lucas’s philosophy of creating meaningful designs that tell stories and elevate everyday experiences.
Lucas Fialho Caramés, a graduate of Architecture and Urbanism from the Catholic University of Brasilia, also studied Furniture Design at The FIDI. His studio, Lucas Caramés Authorial Design, is a Brazilian brand dedicated to minimalist and contemporary reinterpretations of Brazilian modernist furniture. The studio’s mission is to create designs imbued with stories and meanings, offering a unique, contemplative perspective that transforms everyday life while honoring collective heritage.
Join us as we delve into Lucas’s journey, his inspirations, and the remarkable creation that is the Poty Armchair.
Lucas Fialho Caramés
Can you tell us about your background and what led you to a career in design?
I live in Brasília, but I was born and raised in Salvador, Bahia. I have always had a great appreciation for visual arts and drawing, and I think that’s where the spark for my journey in architecture and design began.
As the son of an architect mother, I was always encouraged to express my ideas and creativity, no matter how—whether through drawing, crafting, or making home movies with my parents’ old VHS camcorder.
My relationship with architecture has existed since a very early age, but never in such a direct way. My mother, being an architect, greatly encouraged me to be creative, but she did not directly influence me to become an architect. It ended up being a healthy and natural choice.
I always wanted to study something that would allow me to exercise my creative side, and I saw in architecture a sea of possibilities. However, it was only five years after graduating that I delved deeper and truly discovered the world of product design. Since then, I have found a passion.
Can you elaborate on the vision behind the Potty Armchair? What was its major inspiration?
Poty is inspired by the exuberant Artisan Culture of the Parnaíba Delta and brings a unique fusion between contemporary comfort and traditional local elements, incorporating the distinctive craftsmanship of the region and drawing inspiration from its local biodiversity. The collection incorporates natural elements and unique characteristics of the coastal ecosystem, providing a harmonious blend of functionality and aesthetics.
Can you walk us through the design process? How did the design evolve from your initial idea to the final product?
It all started with the idea of working with metal structures and representations that were closer to the reality of the references used. However, studying the location and its cultural history led to the evolution of the design conception towards warmer, more natural materials. The substitution of metal for wood gave the collection a new significance and connected it even more with the concept.
Photo Credit: Marcelo Calil
The celebration of craftsmanship is a big part of the Poty Armchair, can you delve deeper on how the Poty Armchair reflect the cultural heritage of the Delta Parnaíba region?
Poty is a celebration of the past and present, where contemporary design meets tradition, creating a lasting connection between the furniture and the local culture of the Parnaíba Delta. Additionally, Poty seeks to raise awareness about the importance of preserving mangroves and similar ecosystems. In this way, it not only enriches the environment but also serves as a visual reminder of the need to preserve and appreciate the natural diversity that inspired its creation.
Can you tell us about the main challenges you faced while creating the Poty Armchair? What did you learn from this process?
The initial idea of the project was to exchange ideas and connect artisans during the execution of the project. In this regard, we faced some difficulties in making this production feasible in a state far from where I live today. The solution was to utilize local artisans and labor who could do justice to the story being told and honor the culture of Piauí, paying tribute to and expressing gratitude for the cultural enrichment the region has provided me.
Was sustainability a factor in your design process for the Poty Armchair, and if so, how?
In a way, sustainability goes hand in hand with the artisanal creation process, through the use of recyclable materials, leftover buriti palm fronds, and the reuse of old and reforested wood lots. In the Poty process, our vision of connecting culturally also encompassed circular economy practices.
Photo Credit: Marcelo Calil
Congratulations on winning the SIT Furniture Design of the Year award! What is next for you and your studio? Are there any new designs you’re working on that you can tell us about?
We are dedicated to gaining space in the national scene here in Brazil and expanding our brand. New projects are being developed and will be launched at one of Brazil’s main design events – MADE (Mercado de Arte e Design), a collection that tells the story of my career and symbolizes the importance of Architecture in my evolution process. I’m also dedicated to promoting the design scene in the city where I live, which is the Capital of the country – Brasília. I’m involved in organizing the local Design Week and also other projects that will mobilize the city as a whole to embrace Design culture.
.What advice would you give to aspiring designers who want to follow in your footsteps?
I believe in authorial design as part of the constant search for more knowledge. So, I see it as a starting point to explore one’s identity and to discover the path that can be taken. The authorial design allows for a design free from excess and balanced through meanings and stories, an individual expression that reinforces collective behavior.
I understand that everything has its time and I see the importance from the moment of the idea to the conception of the project, as meticulous processes. Authorial Design for me allows for exchanges, and reciprocity is the key to promoting a true connection between the object and the person who touches, uses, and observes it.
The greatest challenges for an authorial designer lie in the manufacturing process and in securing qualified labor that can represent their idea concretely.
Particularly where I live, in Brasília, there is a shortage of skilled and affordable labor, which can serve as an incentive for new creators. I see it as an important process to plan a business plan, to build relationships with partners and suppliers, for creative and production stability, which helps to stay in the independent market.
Welcome to an interview with Paolo Ferrari, the founder of Studio Paolo Ferrari, a renowned architecture, design, and interior office based in Toronto. We are thrilled to delve into Studio Paolo Ferrari’s latest triumph—Daphne, which has recently been honoured with the Interior Design of the Year award at the SIT Furniture Design Awards.
Daphne, Toronto’s newly-opened gem, is a contemporary and eclectic reimagining of the quintessential American bistro. Sprawling across a series of distinctive rooms, it embodies both the unexpected and the familiar, merging the warmth and nostalgia of New England prep with an imaginative and grand design. The space is at once intimate and expansive, eccentric and sculptural, reminiscent of a great residence that has evolved over time. Designed to create an experience of wonder and subtle awe, Daphne is a world unto itself, awaiting discovery.
Every piece of furniture and lighting within Daphne is custom-designed, establishing it as a space truly without parallel. Ferrari’s design philosophy often draws deep inspiration from art, architecture, and cinema, and Daphne is no exception. At the heart of the project lies a cinematic duality—an immersive, Kubrick-inspired experimentation contrasted with the softness and conviviality of a Nancy Meyers aesthetic. This unexpected playfulness, coupled with timeless sophistication, redefines the American bistro experience, inspiring guests to savour both the joy of discovery and the effortless comfort of home.
Join us as we explore the creative journey behind Daphne with Paolo Ferrari, diving into the inspirations, challenges, and triumphs that have culminated in this extraordinary space.
Paolo Ferrari // Daphne (Photo Credit: Joel Esposito)
Can you tell us a bit about yourself, your professional background and what led you to a career in design?
When it was time to channel my creativity into a career I decided to enrol into OCAD to study environmental design. The key factor there was the intermingling of art and architecture with interior design. I liked the ambiguity of the courses, the range of ideas, and the way we learned to develop designs, always starting with a concept. From there, I went into different professional studios until I felt the urge to start my own practice. The rest is history.
Can you elaborate on the concept and vision behind Daphne’s eclectic and sophisticated design?
In general, our work bridges timelessness and the avant-garde, often expressing cinematic quality. We look for our interiors to have the feel of a journey, evoking the essence of materials and embracing unexpected form and details to create a balanced, human-centric world. The materials I select are presented with subtlety to preserve their natural resonance and potency—their inherent human and emotional qualities.
For Daphne we wanted to tap into the spirit of the American Bistro, yet to create something entirely reimagined. We moved away from the typical wood paneling and a heavy, dark atmosphere, and instead intentionally designed the space to evoke softness and levity. This ethos underlines Daphne, as a space that seemingly effortlessly fuses both a subtle monumentality and a convivial warmth. Daphne simultaneously embodies the unexpected while bringing in the warmth and nostalgia of New England prep.
Can you walk us through the design process? How did the design evolve from your initial idea to the final product?
Interior design is about finding ways to celebrate human existence and rituals, regardless of the typology. Each project is approached as a unique entity, allowing us to re-explore and reinvent design concepts without anchoring to fleeting trends or the post-millennial maelstrom of ephemeral imagery. However, a project like Daphne offers the ideal complexity and demand to actualize these concepts. The tension between minimalism and expressiveness serves as the core that guides our design process, naturally leading to the avant-garde in everything we do. I believe Daphne is a perfect example of our work, classic and yet a bit futuristic.
Daphne (Photo Credit: Joel Esposito)
How do the cultural references, such as Kubrick-inspired elements and Nancy Meyers’ aesthetics, influence the design?
It’s about seeming subtle cues. The Kubrick & Meyers reference ties back to an exploration of both experimentation and timelessness.
All furniture and lights were custom-designed specifically for this project, can you tell us more about this process?
Daphne is a world unto itself, awaiting discovery. The entirety of the furniture and lighting is custom-designed. We work with craftsmen from all over the world to realize our ideas, and sometimes we even commission our own wallpaper because we can’t find what we need. There is no standard process, each project is unique and rooted in our creative process.
Can you tell us about the main challenges you faced while designing Daphne? What did you learn from the process?
Building work is always challenging, whether is the demand of a project budget, timing, or site conditions. Daphne was similar in this respect, but we thrive on problem solving and it makes for a much more rewarding final product. If the process was too easy, it could get boring.
Is there a personal story or element that you included in the design of Daphne?
All of our work is deeply connected.
Daphne (Photo Credit: Joel Esposito)
Congratulations on winning the SIT Interior Design of the Year award! What is next for you and your studio? Are there any new designs you’re working on that you can tell us about?
We are very fortunate to have incredible work in progress all over the world that keeps us busy and motivated. We are currently working on new hospitality work from Hong Kong to Puerto Rico, but many of those projects are still confidential so we can’t reveal much. Recently, we opened a studio in Milan, and already working with San Lorenzo, and planning a few more projects in Europe. All very exciting! And we are super honoured to win the SIT Interior Design of the Year Awards, Thank you so very much!
What advice would you offer to up-and-coming interior designers?
Don’t look to other designers for ideas. A collage of other people’s work is not designed. Be original, and get inspired by other fields, and by life itself.
The SIT Furniture Design Award has become a platform for recognizing top-notch talent in the world of furniture and interior design. Check out the winners of the competition’s fourth edition, and discover how they achieved the perfect balance between form and function.
Switzerland – From cutting-edge designs to bold innovations, the SIT Furniture Design Award has once again showcased the most exceptional talent in furniture and interior design. With over 400 entries from professional and emerging designers from around the world, the competition was fierce, but only a few stood out as the best of the best.
The grand winners of the SIT Furniture Design Award 2024 are:
Furniture Design of the Year: Poty Armchair by Stdio Lucas Caramés
The Poty Armchair draws inspiration from the exuberant Craft Culture of the Delta Parnaíba, merging contemporary comfort with traditional local elements. Crafted with a solid wooden structure, its notable feature is the carnauba straw weave enveloping the chair, a nod to the region’s artisanal tradition. This blend of modern design with cultural heritage creates a visually stunning and culturally rich piece, providing both physical and sensory comfort.
Interior Design of the Year: Daphne by Studio Paolo Ferrari
Daphne, located in Toronto, reimagines the quintessential American bistro with a contemporary and eclectic touch. Custom-designed furniture and lighting enhance the space, which balances the unexpected with the warmth of New England prep. Inspired by art, architecture, and cinema, Daphne embodies a cinematic duality, inviting guests to explore and experience the joy of discovery.
Emerging Furniture Designer of the Year: Otto Lounge Chair by Jenna Jang, Art Center College of Design
In response to the evolving workspace dynamics post-pandemic, the Otto Lounge Chair is designed to adapt to both home and office environments. With refined cushions and oak wood, it brings comfort to any space. Its versatile design allows it to function as both a lounge chair and a workspace accessory, reflecting the changing needs of modern life.
Other winners in Furniture Design include JG Neukomm Architecture for The Suffolk Gallery Bench, Noriko Hashida Design winning with Enots Floor Chair, La Firme with Sarto Series and Street + Garden being recognized for Honeysuckle Park Newcastle Australia. In Interior Design categories, the recipients include Messana O’Rorke teams design of the West 53rd Street Apartment, Wow Atelier for the Best Friends: Roadhouse & Mercantile, A-01 (A Company / A Foundation) winning with the Black House (Casa Negra) and No Footprint House (NFH) and HDC Design with Meet the Bund (Xintiandi). Each winner in their respective category reflects the perfect combination of form, function, and aesthetic appeal that sets them apart from the rest.
Among the distinguished jury members were Alain Gilles, Founder and Lead Designer at Alain Gilles The Studio from Belgium; Bo Zhang, Artist & Chief Designer at Desz Office from New York; Niko Kapa, Design Director at Studio Niko Kapa from the United Kingdom; Christina Chen-Chiao Kuo, Creative Director & Founder of Kuuo Living Limited from Canada; and Nataly Bolshakova, Founder and Lead Designer at Bolshakova Interiors, representing Ukraine. These individuals, representing just a portion of the esteemed panel, contributed their expertise to recognize outstanding design talent on a global scale.
Astrid Hebert, the co-founder of the SIT Furniture Design Award, emphasized the global significance of the event, highlighting the diverse geographic origins of the participating designers and the international composition of the judging panel. “Recognizing both emerging and established designers from around the world underscores our commitment to inspiring innovation in furniture and interior design. This year’s winners exemplify the global impact of design creativity and the collaborative spirit that drives our industry forward.”
All the winners can be viewed in the winner’s gallery on the SIT Furniture Design Award website (sitaward.com).