The SIT Furniture Design Award, a prestigious celebration of innovation and excellence in the outstanding creations of furniture designers and individuals integrating furniture into their projects, took center stage at the iconic KKL Luzern, Switzerland, last Saturday, November 18th. The gala event, set against the stunning backdrop of KKL Luzern’s architectural brilliance, showcased the industry’s top talents and their remarkable contributions.
The evening commenced with an inspiring opening speech by Dominic Sturm, the President of the Swiss Design Association (SDA), setting the tone for an evening of recognition and celebration. The event featured an illustrious list of attendees, showcasing the diversity and excellence within the global design community. Among the prominent professional figures in attendance were: Kateryna Churina – Churina Design, Vincenzo Vinci – Vinci Design Studio – Vasil Velchev, Marcos Duailibe – Mc+ Arquitetos, Cameron Smith – FurnitureSmith; Students from leading Design Universities joined the event from the University of Stuttgart, UDIT – Universidad de Diseño, Innovación y Tecnología, MIT Institute of Design, Artcenter Design of College, GeorgiaTech, Universidad Iberoamericana Ciudad De México and many more.
The designers awardee “Design of the Year” included:
The Innovation of the Year 2021 award went to Alexander Vorontsov of CENTRSVET for the design of “INFINITY AIR”. Arina Istomina received the trophy on stage.
In the student category, Crystal Martin from The Savannah College of Art and Design (SCAD) received the Emerging Interior Designer of the Year 2020 award for “Le Fer Plat V”.
Narges Shah Ahmad Ghasemi of Pars University of Art and Architecture won the Emerging Interior Designer of the Year 2021 award for “Café Pars”.
Nidhi Nimodia from MIT Institute of Design in India was honored with the Emerging Furniture Designer of the Year 2021 award for “Fika”.
The ceremony was helmed by Astrid Hebert and Hossein Farmani, Co-Founders of the 3C Awards, while SIT Award Jury member Charles O. Job, an accomplished Designer & Architect, presented all the trophies. With degrees from Oxford Brookes University and experience in global architecture practices, he’s known for his commitment to simplicity in research, temporary architecture, and furniture design.
Hossein Farmani, Co-Founder of 3C Awards, shared his excitement at the gala awards: “The brilliance on display tonight in interior and furniture design is awe-inspiring. Witnessing these remarkable projects receiving the recognition they deserve is a testament to the unparalleled creativity within our design community. It’s a celebration of spaces that not only function beautifully but also evoke emotions and leave a lasting imprint.”
Astrid Hebert, Co-Founder of 3C Awards, shared her thoughts on the successful night: “Tonight was a lively celebration of designers rocking the world of interiors and furniture. The atmosphere was charged with the energy of innovation, and it’s incredibly fulfilling to see these visionaries being acknowledged. The gala was a true celebration of the transformative power of design in our daily lives.”
Following the awards ceremonies, attendees were treated to a sumptuous cocktail dinner reception—a perfect opportunity for professionals to connect, share insights, and revel in the shared passion for innovation and creative expression. The atmosphere was truly festive, ensuring everyone had a delightful time and adding to the overall experience of the evening.
As the night concluded, the excitement lingered, and the SIT Awards are already gearing up for another spectacular event. Stay tuned for updates on submission dates for 2024 at www.sitaward.com to be a part of the next chapter in celebrating outstanding design achievements.
On July 16th, 2023, the Asia Pacific Design Center (APDC) partner of the SIT Furniture Design Awards hosted the International Design Awards Gala, the first forum of the Winning Designers’ Speech Tour in Beijing and Shijiazhuang City. The event, jointly organized by HBI, a globally selected ceramic tile brand, and SALOLEA, the new generation door wall system, along with the co-organizer TASSANI, a European expert in coating solutions, marked the beginning of a grand celebration of design excellence.
The guest lineup for the speech tour was unprecedentedly luxurious, with renowned designers from various corners of the world gracing the event. Among the distinguished guests was Charles O. Job, the 2020 SIT Furniture Design Award winner, celebrated for his chair design SKETCH. Born in Lagos, Nigeria, Charles O. Job’s journey in design began with degrees in architecture and urban design from Oxford Brookes University, followed by work experience in architecture practices in Paris, London, and Zürich. He served as a junior faculty member at ETH Zürich for several years and was later appointed as a professor of architectural design theory at Berne University of Applied Sciences in 2008.
Charles O. Job‘s exploration in research, temporary architecture, and furniture design for international clients has been guided by a constant quest for simplicity. His wide repertoire of projects and products reflects his commitment to innovation, garnering him numerous international design prizes and a place for his chair in the permanent collection of the Vitra Design Museum.
Charles’ speech at the APDC event was filled with engaging storytelling and delightful anecdotes. He shared how childhood “magical” toys ignited his passion for design, leading to the creation of his award-winning chair, SKETCH. With humor and wit, he emphasized the importance of possessing an interesting soul as a designer, enabling one to discover the beauty of design in the world and make life more lovely. His insights on simplicity, elegance, and the interplay between design and life left the audience inspired and amused, resulting in laughter and applause throughout his talk. Charles’ speech served as a reminder for all designers to infuse their work with passion and joy, creating designs that enhance people’s lives with creativity and innovation.
The APDC International Design Awards Gala aims to recognize and celebrate outstanding Chinese designers who have reached the pinnacle of the design world. The event also identifies emerging talents in architecture, interior, product, graphic, and fashion design. The gala has garnered significant attention and acclaim from industry elites, experts, and scholars, further driving the development of the design industry with an international perspective.
The speech tour not only provides a platform for award-winning designers to showcase their work but also serves as a starting point for aspiring young designers to compete in international awards. During the tour, the participating designers were provided with opportunities to enter competitions for the ten prestigious awards, fostering a dream channel for those passionate and innovative young talents in the field of design.
The event also received the support of influential figures in the design community. Zhiming Xie, Vice Chairman of the Interior Design Branch of the Chinese Architecture Society, attended the tour as a special guest and emphasized the importance of Chinese designers participating in international awards and engaging in cross-cultural interactions with international designers. Other speakers included Architect Kris Lin, winner of the first edition of the SIT Award with the “Bird Nest”, C.R. Lin winner of the BLT Built Design Awards, and Larry Wen, winner of the LIV Hospitality Design Awards.
This year’s tour aimed to open up a broader stage for young designers who are passionate about design and possess innovative ideas. After the successful Beijing and Shijiazhuang city events, the tour is set to continue in first-tier cities such as Shanghai and Shenzhen.
As the world continues to change rapidly, the ways designers approach their tasks and work have also evolved. Design integration and cross-border collaboration, once regarded as trends, have now become a reality. Design’s current development and future prospects are subject to continuous innovative exploration and thinking. Events like the APDC International Design Awards Gala and the Winning Designers’ Speech Tour play a crucial role in guiding and inspiring designers worldwide, promoting innovation, subversion, and new enlightenment for the future of design.
Design enthusiasts and industry insiders are eagerly anticipating the upcoming SIT Furniture Design Award Gala in the beautiful city of Luzern. The event will take place at the KKL Luzern, a stunning architectural gem located by the picturesque shores of Lake Luzern, on Saturday, November 18, 2023.
Luzern is known as a vibrant hub for design innovation and creativity, attracting designers, artists, and visionaries from around the world. With its historical charm and contemporary flair blend, Luzern provides a perfect backdrop for celebrating outstanding global design excellence. The SIT Furniture Design Award Gala will be a platform to honour exceptional achievements, innovative ideas, and extraordinary design talent of furniture designers and those who use furniture in their projects. Esteemed designers and industry leaders will showcase their outstanding projects to a distinguished audience, creating an evening of inspiration and celebration.
Elmar Bossard | Luzern Tourism
The KKL Luzern, a masterpiece designed by renowned architect Jean Nouvel, exemplifies Luzern’s commitment to architectural brilliance. This remarkable venue blends water, light, and grandeur, providing a stunning atmosphere that complements the essence of design, craftsmanship, and artistic expression. Luzern’s vibrant design culture thrives on its rich heritage and dedication to pushing creative boundaries. The city boasts a lively art scene, cutting-edge galleries, and design studios that inspire designers to flourish and collaborate.
The SIT Furniture Design Award Gala will offer valuable networking opportunities, enabling attendees to connect with industry leaders, form partnerships, and gain global recognition. With its international appeal, the event encourages diverse design perspectives and fosters a vibrant exchange of ideas that propel the industry forward.
During the Awards ceremony, the following winners will receive a trophy:
01 – Furniture Design of the Year: Rockwell Group with Sage by David Rockwell for Benchmark
01 – Interior Design of the Year: Vanpin Architecture Design with Country Garden Nantong Riverbank
Sales Office
01 – Innovation of the Year: Myny with SecretAir – The discrete home office sideboard
01 – Emerging Furniture Designer of the Year: Sergio Sesmero with MEMORIA Chair
01 – Emerging Interior Design of the Year: Crystal Martin with Le Fer Plat V
02 – Furniture Design of the Year: Jaderalmeida with May
02 – Interior Design of the Year: Messana O’Rorke with Junegrass House
02 – Innovation of the Year: CENTRSVET with INFINITY AIR
02 – Emerging Furniture Designer of the Year: Nidhi Nimodia with Fika
02 – Emerging Interior Design of the Year: Narges Shah Ahmad Ghasemi with Café pars
03 – Furniture Design of the Year: Landscape Forms with Typology Ribbon Bench
03 – Interior Design of the Year: Studio Paolo Ferrari with Muskoka Cottage
03 – Innovation of the Year: BEDGEAR® with M3 Performance® Mattress
03 – Emerging Furniture Designer of the Year: Tom Man with Daejo
03 – Emerging Interior Design of the Year: Tony Wu with Soul Cave – Patagonia
Witness the design brilliance and visionary creativity at the SIT Furniture Design Award Gala in Luzern. Prepare to be captivated by the extraordinary projects, inspired by the awe-inspiring surroundings, and engage with like-minded professionals who share a passion for pushing the boundaries of design.
Welcome to an exclusive interview with renowned industrial designer Karim Rashid, one of the most unique voices in design today. With more than 4000 designs in production, over 400 awards to his name, and client work in over 40 countries, Karim’s ability to transcend typology continues to make him a force among designers of his generation.
Eschewing style in favor of designing in the modus of our time, Karim’s designs include luxury goods for Christofle, Alessi, Veuve Clicquot, and Riva 1920; democratic products for Umbra, Paul Mitchell, and 3M; timeless furniture for Bonaldo, Tonelli, BoConcept, and Vondom; exquisite lighting for Artemide and Fontana Arte; high-tech products for Asus and SirinLabs; surface design for Marburg and Abet Laminati; iconic branding for Hugo Boss and Citibank; and award-winning packaging for Method, Paris Baguette, Kenzo, and Eos.
Karim’s influence expands beyond product to interiors, including restaurants like Switch in UAE; hospitality design for Park Inn by Radisson Amsterdam City West, Temptation Resort Cancun, and budget hotels for Prizeotel in Bremen, Hamburg, Munster, and Erfurt; public environments like Universita Metro Station in Naples; residential design like Paraiso Bayviews in Miami; and retail design for Fun Factory in Berlin and Munich. Additionally, he has collaborated on innumerable concept exhibitions for clients such as Dupont Corian, Deutsche Bank, PepsiCo, and Audi.
Having won numerous SIT Furniture Design Awards, his innovative and accessible creations have left a lasting impact on the industry. In this interview, we delve into his design philosophy, his global perspective, and the inspiration behind his award-winning projects. Join us as we gain insights into the mind of a visionary designer and explore the fascinating world of Karim Rashid.
Was there a specific moment or experience that sparked your interest in industrial design, and what made you decide to pursue it as a career?
I realized my life’s mission at the age of 5 in London. I went sketching with my father drawing churches on Sundays. He taught me to see – he taught me perspective at that age – he taught me that I could design anything and touch all aspects of our physical landscape. I remember drawing a cathedral facade and deciding I did not like the shape of the gothic windows (the pointed tops seemed dangerous) so I redesigned them. I drew them as ovals. I also remember winning a drawing competition for children on the Queen Elizabeth when we sailed from London to Montreal in 1966 – I drew luggage since I was really perplexed at how we packed up our entire belongings into some suitcases to go to the new world.
Chelsea Collection by Karim Rashid, BoConcept
You received your Bachelor of Industrial Design from Carleton University in Ottawa, Canada, and pursued graduate design studies in Naples, Italy. How did your education shape your design philosophy?
I was confused as a teenager of what profession I would go into. I had accelerated high school, so I was 16 when applying to university and was torn between architecture, fine art, and fashion. I originally applied to study architecture at Carleton in August so I was much too late and the program was full. They told me they could accept me in the ‘architectural stream’ of Industrial Design. So, I went to Carleton University expecting to study architecture, but fate had it, that the second I took some industrial design courses, I knew that it is what I wanted to do. I assumed that one had to be an architect to design a chair or coffee machine or a product. I loved the Italian product design landscape and all those products that I admired for years that were in our house were designed by architects. In fact, Italy did not have an industrial design school until 1984. The Carleton program was only in its second year so in turn, and not enough faculty or courses in industrial design, so the greatest experience I had was to study engineering, architecture, philosophy, and languages, and have such a broad diversity of courses. I have concluded teaching for so many years that a designer needs a broader experience, and in fact, I believe that design should really be only taught in graduate school.
After college, I went to a one-year graduate program in industrial design in Italy studying with Gaetano Pesce and Ettore Sottsass. Sottsass taught me that there are many beautiful design objects, but that you have to ask what they do for us. In the sense of human, inspiring objects, Memphis was a revelation and a turning point in design. There are many imposing design objects who need to stand by themselves to impress. I always ask myself, what is left, if you take the design away? If it’s style, it is a thing of the past. I define design as embracing contemporary criteria to shape the future, not being derivative of the past
As someone who has lived and worked in cities around the world, including New York City, Belgrade, and Miami, how has your global perspective influenced your approach to design, and how do you think exposure to different cultures and environments can benefit designers?
I love to meet new people, engage in new cultures as I travel across the globe, try new foods, etc. I travel get inspired usually by the unfamiliar so even the lost local places of industrial parks, airport hotels, alleyways in big cities, taxis in London, a gym in Hong Kong, a bathroom in Paris, a prop plane in Sweden, a cinema in Milan, a Renault in Sweden, food in Qatar, shanty towns in South Africa, anything that is new to my senses, unusual, odd, inspires me. Beauty is in everything if we want to see it.
Globalization has opened up the diversity of the individual. As our world shrinks we become more aware of the world around us, we communicate globally, we mix and in turn we will eventually have one global culture made up of objective minds that are not repressed by race, religion, or creed. This globalism and new social behaviors will shape the architecture and design of the future. I’d like to think we will break through the dated archetypes and have a new pluralism that will look like nothing we’ve seen before.
Voxel chair
The Voxel Chair, which won the SIT Award in 2020, features a unique structural shape made possible through injection molding. Can you discuss the challenges and opportunities that this production method presents for designers?
The new Voxel chair presents a unique structural shape, angular and faceted, made possible by injection molding production. It is the next evolution of my decades-long experiments with faceted forms. The beauty of facets creates an extremely strong, yet lightweight structure that stacks and maneuvers easily. The faceted sides break up the planes and give texture to the surfaces.
In your recent Ego Collection, which won a SIT Award in 2023, you incorporated facial motifs ‘into a variety of pieces, including a cabinet and a screen. What inspired this concept, and how did you develop the idea?
Ego collection is a luxurious collection of chairs, cabinet, and a screen/room divider in polished brass and resin to speak about the human visage. The collection is an iteration of a motif I have been working on since I studied under Gaetano Pesce near Naples in 1984. Gaetano gave us an unusual assignment to design a drinking glass fashioned after a head or a person’s face. I decided to spin my head 360 degrees. Since then, I have iterated my profile into glasses, vases, sculptures, and now a new collection with Scarlet Splendor.
Ego Chair by Karim Rashid Inc. Photo
You’ve won multiple SIT Furniture Design Awards in different categories over the years. What does it mean to you to be recognized in this way, and how does this impact your work as a designer?
After 30 years in the business and winning over 400 awards in my career, I am always extremely honored to win an award. It is one marker of success, but I feel the real accolade is seeing my objects in average people’s homes or to see a space realized, enjoyed, and experienced by people. But we need awards like the SIT Awards to highlight excellence and innovation!
How important is sustainability to your design practice? Are there particular strategies or materials that you use to create more eco-friendly products?
Recycling is in a really cyclic paradigm now in the United States and many other countries. Conserving resources means using less raw materials and energy throughout a product’s entire life — from its’ development and manufacture to its use, reuse and recycling and disposal. I am interested in biodegradable materials. I am trying to use bioplastics; the Garbo can is made of corn and the Snap chair by Feek is made of 100% recycled polystyrene and is 97% air. A while ago I designed packaging for a fast-food restaurant using starch and potatoes that are injection molded and have the exact appearance of plastic. These innovations are finally becoming part of the consumer zeitgeist.
Your work spans a wide range of product categories, from furniture to fashion to electronics. Is there a particular category that you enjoy working in the most, or do you find inspiration in all of them?
I always saw myself as a pluralist, even when I was a student. I do not like the idea of specialization and admired creative people who touched many different aspects of visual culture. I like the whole idea of the Warholian factory, where you could move around in all the disciplines of the applied major arts. So I promised myself that if I ever had my own practice I would keep it broad and touch all aspects of our physical landscape, including interiors and buildings, as well as lecture about the world at large. I have about 40 projects going at a time and each project perpetually inspires the next. It is my diversity that affords me the ability to cross-pollinate ideas, materials, behaviors, aesthetics and language from one typology to the other.
Karim Rashid, Keen Sun Chaise. Courtesy of Punto Design
What advice would you give to young designers who are just starting out in the industry?
For young designers I always give the advice: Be smart, be patient, learn to learn, learn to be really practical but imbue poetics, aesthetics, and new paradigms of our changing product landscape. You must find new languages, new semantics, new aesthetics, experiment with new material, and behavioral approaches. Also, always remember obvious HUMAN issues in the product like Emotion, ease of use, technological advances, product methods, humor, and meaning and a positive energetic and proud spirit in the product.
What do you see as the biggest challenges facing the design world today, and how do you see designers addressing these challenges in the coming years?
A very big challenge of design is to create something that, although accessible to all consumers, touches people’s lives and gives them some sense of elevated experience and pleasure and is original. But for me the biggest challenge is getting the world (consumers, clients, manufacturers, retailers) to accept the time in which we live! Human nature tends to look in the past and feels more comfortable with the past and what is familiar. My real desire is to see people live in the modus of our time, to participate in contemporary world, and to release themselves from nostalgia, antiquated traditions, old rituals, kitsch meaningless paradigms. New culture demands new forms, concepts, materials, and styles. As we shift into the post-industrial age products are becoming more personalized as varied expressions of specific cultures, corporate identities, and tribes. Currently, industrial design has a responsibility to redefine these objects in society as a celebration of value and meaning, not as a celebration of surface.
The annual catalog features the winners of the SIT Furniture Design Awards 2023 in Interior Design and Furniture Design is now available.
Read the exclusive interviews of Eugene Alletto, the visionary leader of BEDGEAR’s acclaimed M3 Performance® Mattress and Innovation of the Year 2023 winner, the Furniture Design of the Year 2023 team behind the Typology Ribbon Bench, and emerging designers.
The catalog is available to purchase on Amazon and can be downloaded on the SIT Furniture Design Award website.
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 4th edition are now open. With a global reach and a mission to recognize, celebrate, and promote exceptional furniture makers, 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 prestigious 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 esteemed award sets the stage for global recognition and appreciation of exceptional talent.
“Awarding excellence in both furniture and interior design, we are thrilled to announce the upcoming edition of SIT Furniture Design Award,” expressed Astrid Hebert, co-founder of the prestigious platform. “Last year, we received an overwhelming response with over 400 submissions from brilliant designers around the world. After such tremendous success, we eagerly anticipate the remarkable entries we will receive this year. Each submission brings its own unique perspective and ideas, and we can’t wait to witness the diverse range of exceptional designs that will shape the future of the industry. In this edition, we are particularly excited to reward a sustainable approach to design. We strongly believe in the power of design to create positive change, and we invite designers to showcase their innovative solutions that promote sustainability, eco-consciousness, and a harmonious balance between aesthetics and environmental responsibility.”
The esteemed jury panel of the SIT Furniture Design Award consists of influential professionals and includes Michele Blasilli, Senior Lead Designer at Swarovski; Rozina Spinnoy, Managing Director of Belgium Design Council; Steven Yeung, Founder of Kar; Lilian González-González, Industrial Design Academic Coordinator at Anáhuac University of México and Board Member at World Design Organization; Meghan Preiss, Manager of CX Design Integration at Delta Airlines and Board Member of World Design Organization, and Barend Slabbert, Programme Leader Interior Design at the University of Derby. They play a vital role in evaluating and rewarding entries across various furniture and interior design categories, contributing to the recognition and celebration of exceptional talent in the industry.
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 July 31st, 2021 early bird deadline and enjoy a 15% 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.
As the winner of the Furniture Design of the Year at the SIT Furniture Design Awards 2023, Landscape Forms proudly presents the Typology Ribbon Bench. Made from aluminum and ultra-high-performance concrete, the bench’s adaptable segments allow it to seamlessly meander through the urban landscape. The gap between the two profiles on the bench seat serves as a mounting point for backrests, armrests, and extended surfaces. Illuminated by downward-facing lighting, the bench creates an illusion of levitation, captivating and engaging passersby. This innovative design challenges preconceptions of site furnishings, introducing functional art to public squares and inviting people to explore and interact with their surroundings.
1. Could you tell us a bit about yourself and your professional journey? How did design come to have such an important role in your life?
Landscape Forms was founded on a profound passion for the natural landscape and a mission to enhance people’s experience of outdoor space. We see great design as a means to achieve this mission—a means to cultivate a love for the outdoors, a means to connect people with nature and one another, and a means to bolster people’s health and wellbeing on a daily basis. This was the case when our founder John Chipman Sr. and a small handful of seasonal employees were beginning the business in the family barn in 1969, and it continues to be the case across our three state-of-the-art Kalamazoo facilities, our sister brands, and our 400+ full-time employees today.
2. Is there a philosophy or a special process that influences how you approach design? Would you say that you apply it to your life as well?
Our philosophy can be summarized by the three pillars that help guide everything we do: Design, Culture and Craft. Design is our identity and first priority, fueled by the collaboration with world-renowned design leaders that enables us to be constantly innovating, evolving and offering solutions that capture the imagination. Culture is our drive to do good by our coworkers and our community, a promise to promote participation, inclusivity, responsibility and integrity both in our organization and in our daily lives. Craft is our merging of art and technology at the highest level, a celebration of the skill, precision and pride that we communicate in our products and the processes that bring them to life.
Courtesy of Landscape Forms
3. How did you come up with the vision for the Typology Ribbon Bench?
The centerpiece of the Typology Collection of site furnishings and lighting, the Typology ribbon bench was born out of collaboration between our design team and Designworks, the design innovation studio for the BMW Group. The shared guiding vision for both teams was to bring functional art to the public square, creating sculptural and attention-grabbing forms that could also adapt and work intelligently with the nuances of the urban streetscape. Combining Designworks’ expertise in mobility and systematic urban design with Landscape Forms’ expertise in artful outdoor settings and meticulous craft manufacturing, the result is a modular bench system that interacts with architecture, guides pedestrians, and defines space while also challenging preconceptions about how site furnishings are “supposed” to appear.
4. There is a certain dichotomy between the materials used and the effect of levitation created by the lights in the bottom of the structure, how did this choice come to be?
The exploration of different dichotomies was a key strategy in achieving the surprising, delightful and captivating effect we wanted the Typology Collection to have on its users. The juxtaposition of light and shadow, sky and earth, physical heft and visual lightness help to draw people into a space and then envelop them in an immersive outdoor design experience. The seemingly impossible thinness, lightness and illusion of levitation of the ribbon bench’s concrete mantle is an illustration of the amazing aesthetic potential of modern high-performance cast concrete manufacturing techniques. But it’s also a way of piquing people’s interest—an invitation to bend down and take a closer look, touch and feel the installation, and experience the streetscape in an intentional and thought-provoking way.
5. Your design helps with creating a sense of community among its users, can you tell us more about how you envisioned this piece being used and what role it plays in the urban landscape?
The design and engineering of the Typology ribbon bench focused significantly on the systematic connection of urban spaces and the people who frequent them. Modular segments with varying degrees of curvature enable the bench to navigate seamlessly throughout the streetscape—symmetric and sinusoidal or organically serpentine in contrast to the urban array. Then suddenly, the ribbon bench can transform into focal points of community interaction. Concentric circular or arced configurations like amphitheaters invite people to rest, repose and connect with others sharing the space, offering a counterpoint to the anonymity of a bustling urban environment.
6. What did you find most challenging while working on the project and what did you enjoy the most?
One of the more challenging design and engineering aspects of the Typology ribbon bench was to develop a way for the concrete profiles of the seat to seamlessly and securely join its cast metal supports without visible fasteners. Through much iteration, we designed a system of protrusions on the underside of the concrete mantles that nestle like puzzle pieces into notches on the support structure, joining the two components without the use of fasteners at all.
The most enjoyable aspect of the project was absolutely the opportunity to build on our collaborative relationship with Designworks. As longtime creative partners, we’re united around a passion for envelope-pushing design that enhances the human experience, but we also occupy different and complementary areas of expertise. The result of this relationship is a very dynamic creative back-and-forth, grounded in mutual admiration each other’s abilities and giving rise to really exciting moments of spontaneous innovation.
Courtesy of Landscape Forms
7. What does winning the SIT Award mean to you in terms of validation and recognition of your work in the furniture design industry?
Receiving recognitions like the SIT Award is very significant to us on multiple levels. On level one, recognition from a prestigious international jury and a well-respected third party like the SIT Furniture Design Award is important validation of all our team members’ hard work, determination and expertise. On level two, we think it represents a growing appreciation of outdoor space in the collective consciousness and the potential it holds enhance lives in really meaningful ways. And on level three, awards for specific solutions like the Typology ribbon bench—which looks and feels quite different than solutions that have previously defined outdoor design—are important indicators of the appetite for innovation and the desire for new ways of conceptualizing space in our industry.
8. Are you currently working on something new that you can tell us about?
We’re guided by an ethos of continuous improvement, which means at any given time we have quite a few irons in the fire. In future solutions from Landscape Forms, you can expect innovation on all fronts—design, material, form, scale, sustainability and positive social impact. But never innovation solely for innovation’s sake. As we continue to evolve our offering of site furnishings, lighting and adaptive structure, connecting people to nature and enabling people to experience the outdoors as an uplifting ritual in their daily lives remains paramount.
9. Which designers do you admire the most? Do you take inspiration from their work when diving into a new project?
We are extremely privileged to work with a wide range of world-class designers, each of whom finds unique inspiration in the natural world, translates this inspiration to the built environment, and contributes something special to our portfolio. By building a collaborative community of diverse perspectives and complementary competencies, we’re able to bring more depth to our design, create more insightful products, and develop innovative solutions to previously unsolved problems.
Meet Eugene Alletto, the visionary leader behind BEDGEAR’s acclaimed M3 Performance® Mattress, honored with the prestigious SIT 2023 Innovation of the Year Award. With a focus on personalization and sustainability, Alletto’s vision has transformed the sleep experience. Join us as we delve into the remarkable design, eco-friendly materials, and unmatched comfort that set the M3 apart. Discover why BEDGEAR is setting new standards in the bedding industry.
Could you tell us a bit about yourself and your professional journey? How did design come to have such an important role in your life?
I’ve always loved building things. Using my hands and my creativity has always been at the forefront of my success. I love creating unique surroundings for home furnishings, picking out different fabrics and textures, or being eclectic in my designs because it has been at the forefront of every decision I make.
I take pride in building homes, commercial spaces, products, and showrooms. I can express myself through different outlets which is why design plays such an important role in my life.
Eugene Alletto / M3 Performance® Mattress
Can you tell us more about how you selected the materials of the M3 Performance Mattress and what impact they have on the sleep experience?
Being an outdoorsman myself, I love experiencing and exploring the world. Regardless of where you stand with climate change or where it relates to pollution, why not be good to mother earth and be as minimalistic as possible? This is the question we asked ourselves when choosing materials for the M3. The M3’s design was meant to be modular and sustainable.
This Performance mattress can be updated as your sleep preferences change over time, allowing you to replace its parts, keep it clean, and extend the life of the mattress. We wanted the M3 to be the only mattress a consumer will ever need because we can eliminate unnecessary landfill waste. The modular aspect of the M3 also allows us to select materials that are able to be upcycled, recycled, or repurposed. The materials used for the M3 have the lowest possible impact on the environment.
You can vacuum the chassis, wash the cover and replace the parts so the entire mattress doesn’t have to go into a landfill.
The personalization available in your design is remarkable, how does the mattress allow for independent firmness adjustment on each side?
The M3’s build is made of multiple components, and one of the key components to making the M3 unique is the Independent Suspension Units. The Independent Suspension units are interchangeable support layers that allow you to choose the firmness for each side of the bed. Made with hundreds of individually wrapped coils, each unit works independently to provide responsive support that caters to your preferences, so you never have to compromise on comfort.
If your comfort preference changes over time, you can simply remove the Independent Suspension unit and swap it for a new one by unzipping the top cover.
Which main issues were you trying to address when developing this project?
One of BEDGEAR’s most important issues we were trying to address when developing the M3 was personalization. We wanted to be kind to mother earth and remain a proudly sustainable company without having our customers compromise their comfort.
Every person has different shoes, jacket, shirt, and pant sizes because it’s what personally fits them best. Yet, the bedding industry gives everyone little to no options to choose which mattress or pillow fits them best. People are forced to choose between one type of body or one type of size when looking for a mattress.
You shouldn’t have to compromise your comfort when it comes to sleep. This is why BEDGEAR is so adamant about providing the best-personalized fit for every consumer’s needs.
How did you approach the challenge of creating a mattress that would meet the needs of both individual sleepers and couples who may have different sleep preferences?
People have been forced into this “one-size-fits-all” mentality in the mattress industry when it doesn’t have to be that way.
The M3 has various firmness options. A sleeper can choose to have the softest of coils or the firmest, so whether you’re alone or in a couple, your mattress will always conform to you no matter your body type and preference throughout life. Additionally, if you and your partner share the same preferences, the M3 can accommodate the same firmness on both sides as well.
What does winning the SIT Award mean to you in terms of validation and recognition of your work?
I’ve been in the furniture business for almost 30 years, and I’ve seen the SIT award on many pieces of furniture for its design, and creativity. It’s always been the pinnacle of many designers to receive this award. It is so important for not only me, but the BEDGEAR team, to have this validation and recognition. It is truly significant, and we are so proud to be able to have a mattress built that would be considered and given such a special award as this one. It’s great to see SIT recognize that important designs can be minimalistic yet good for mother earth. So, we are celebrating today as we gracefully accept this wonderful award.
Team from left to right: Gurleen Chhatwal, Ashima Bhasin, Kaitlin Procida / M3 Performance® Mattress
What kind of feedback have you received on the design?
We’ve had great accolades from couples who are saying they just can’t believe a mattress like the M3 wasn’t put on the market sooner. It seems so obvious to everyone that personalization is key.
We’ve had complaints from people who are sleeping too hot or too cold before they discovered BEDGEAR. This is because the foam other bedding brands use are derived from petroleum, which is an insulator that keeps you hot. They also use toxic chemicals that are meant to keep you “cold”. In reality, these chemicals that are supposedly beneficial to the sleeper, are actually dangerous to consumers and their environment. The M3 set the precedent for all bedding companies as it is the first time that a bed feels cool with safe, breathable materials that doesn’t absorb all your body heat.
Couples can now cuddle in the middle without getting hot but also roll over to their side of the bed to get the perfect night’s sleep without temperature issues when it’s time to go to bed. It’s been great.
Are you currently working on something new that you can tell us about?
We are taking our M3 and making it even smarter. We will be delivering by the end of this year the Ambient package. The Ambient package will give you complete control over your sleep, and your microclimate. This will be done through an app and through your smart home. This will be the first bed that has dynamic heating and cooling throughout the night. More to come!
What do you hope to work on in the future and which issues are on your “to-solve” list?
BEDGEAR is positioned to become a health and tech company now that we’re starting to get good results from people sleeping better with our products. Our new Ambient will be one of our many new smart products. BEDGEAR’s goal is to solve more health issues by gathering and collecting data in a unique way that no one else has done before so that we can improve our health and wellness through sleep.
Meet Tony Wu, the winner of the SIT Furniture Design Awards 2023 Emerging Interior Designer of the Year title. As a student at the Savannah College of Art and Design, Tony has captured attention with his innovative approach to retail design. In a world of impersonal shopping experiences, Tony’s vision breathes life into retail spaces, infusing them with emotion, storytelling, and cultural perspectives. His award-winning design, Soul Cave – Patagonia, draws inspiration from nature’s grandeur, offering a glimpse into a retail future that is both captivating and soulful.
Could you tell us a bit about yourself and your professional journey? How did design come to have such an important role in your life?
My name is Tony Wu, and I’m currently working as a designer at Gensler Houston. As a professional, I am eager to learn new things every day. Variety feeds my passion as I encounter the ups and downs of everyday projects. Design is my focus, and passion fuels my desire to create.
Is there a philosophy or a special process that influences how you approach design? Would you say that you apply it to your life as well?
My philosophy is based on the belief that architecture or interior design can promote social interaction. It is a friend, a mentor, or even family to us. Every design opportunity brings space alive and promotes healthy communities, whether in home life, education, or business settings.
Could you tell us about the vision for the Soul Cave? How did it come to be?
I’ve noticed that many YouTubers start their own brand, and it becomes popular for a while. However, after the trend fades, people tend to forget about it. I feel like this is a common problem nowadays, where customers don’t care about what’s behind the brand. I think this is very detrimental to the business. If the design can tell the story behind the brand, it would be beneficial for both the customer and the brand. Our project seems to take inspiration from Arizona’s Grand Canyon, how did you incorporate its characteristics in the design?
What does winning the SIT Award mean to you in terms of validation and recognition of your work in the design industry?
Receiving recognition from SIT is unbelievable. I am honored and truly grateful. I feel called to achieve more creative designs in my future work.
Are you currently working on something new that you can tell us about?
I am not free to talk about my project at Gensler. I am trying very hard to know all the codes, as well as the details, to foster my knowledge about architecture and interior design. I want to be a competent and creative designer who can plan, model, render, and, most of all, learn how everything works toward achieving the final product.
How do you approach sustainability in your designs and what role do you think it has or should have in the future of the industry?
Using green materials is the first step towards achieving sustainability. Resources are running short, so having a design that can help the world save resources is a huge step.
Zurich, 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 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 third edition, and discover how they achieved the perfect balance between form and function.
The grand winners of the SIT Furniture Design Award 2023 are:
Interior Design of the Year: Muskoka Cottage by Studio Paolo Ferrari
Furniture Design of the Year: Typology Ribbon Bench by Landscape Forms
Innovation of the Year: M3 Performance® Mattress by BEDGEAR®
Emerging Furniture Designer of the Year: Daejo by Tom Man
Emerging Interior Designer of the Year: Soul Cave – Patagonia by Tony Wu
These winners were selected through a multi-round voting process by a panel of distinguished judges from around the world, including Lilian González-González, Industrial Design Academic Coordinator at the Anáhuac University of México and Board Member at World Design Organization, Barend Slabbert, Programme Leader Interior Design at the University of Derby, Nataly Bolshakova, Founder and Lead Designer at Bolshakova Interiors, Radhika Seth, Vice President of Sales of Yanko Design, Jakob Kjaer Nielsen, Global Design Director at Global Design Director and more industry leaders. The winning designs truly exemplify the importance of recognizing outstanding talent in furniture and interior design, showcasing how creativity, innovation, and sustainability can work hand in hand to produce outstanding pieces that elevate the very concept of design.
Astrid Hebert, the founder of SIT Furniture Design Award, is delighted by this year’s winners and highlighted the importance of recognizing both emerging and established designers. “Design is an ever-evolving field, and we must give space to new talents and established designers alike to showcase their work and push the boundaries of creativity.” adding that “Our mission at the SIT Furniture Design Award is to inspire innovation in furniture and interior design, and this year’s winners have done just that. We congratulate them on their impressive creations and look forward to seeing what they will accomplish in the future.”
Other winners in Furniture Design include Karim Rashid for the “Ego Chair”, Jan Flook Lighting with the “Cloud 9”, the German company Maytoni with the “Reflex” winner in Pendant Lighting, García Requejo with the “Arum Lily Collection”, Flexispot for the “V6 Intelligence Fitness Chair” and Studioforma for the lounge chair called “CLODETTE”. In Interior Design categories, the recipients include TABOORET teams design of the “Ukrainian L’Oreal Academy”, Wow Atelier for the “X-Mission” office, Twins Studio winning with the “Tuya Mykonos” in Greece, Johannes Torpe Studios Denmark Aps for the restaurant “Levi” and the Japanese Interior design firm Kamitopen with “Goodman Amenity Space”. Each winner in their respective category reflects the perfect combination of form, function, and aesthetic appeal that sets them apart from the rest.
All the winners can be viewed in the winner’s gallery on the SIT Furniture Design Award website (sitaward.com).
Photo: From left to right ED407 Lido Sofa by Studio Paolo Ferrari, photo credit: Dion Yu Yan Lin, Punto by Sofia von Hauske, Kaef armchair by Arseniy Brodach