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).
The SIT Furniture Design Award, a prestigious platform celebrating and sharing exceptional furniture design, is thrilled to welcome two esteemed design leaders to its esteemed jury: Alain Gilles and Bo Zhang. The SIT Furniture Design Award champions creativity, innovative vision, and accessibility within the global furniture design community. By recognizing and amplifying the work of talented designers, the award fosters a vibrant and inclusive design landscape.
Alain Gilles, founder and lead designer of The Studio, brings a wealth of experience to the jury. After a successful career in finance, he followed his passion for design, earning a degree in Industrial Design. Today, he collaborates with leading international furniture brands, shaping trends through his unique approach to product design, furniture design, art direction, and interior architecture.
Bo Zhang, artist and chief designer at Desz Office, is a master’s graduate in Furniture Design from the Savannah College of Art and Design. Recognized by UNESCO as one of the “100 Future Artists,” Bo’s innovative and original designs have garnered international acclaim. His work graces renowned platforms like Design Miami, 1stDibs, and Singular Art, capturing the attention of influential design media.
Gilles and Zhang join a distinguished jury already featuring design luminaries like Christina Chen-Chiao Kuo of Kuuo Living Limited, Nataly Bolshakova of Bolshakova Interiors, Steven Yeung of Kar, Zhou Yi of Dayi Design, and Lilian González-González of Anáhuac University of México and the World Design Organization. A full list of jury members can be found on the SIT Furniture Design Award website.
“We’re excited to have Alain Gilles and Bo Zhang on board this year,” says Astrid Hebert, Program Director of the SIT Furniture Design Award. “Their design expertise is fantastic, and their global outlook will be a huge help in choosing the most creative and inspiring furniture designs. With such a talented jury, I can’t wait to see who wins – this year’s competition is looking amazing!”
The SIT Furniture Design Award is accepting submissions for its annual competition, but time is running out! Aspiring and established furniture designers are encouraged to submit their work by the deadline of April 14, 2024. Don’t miss this opportunity for global recognition – visit the SIT Furniture Design Award website to learn more and apply today.
Get ready for a design-packed March! From bustling festivals to chic showcases, this month is bursting with creativity. We’re diving into three standout events that promise excitement, innovation, and inspiration. Whether you’re in Austin, London, or Paris, there’s something special waiting for you. Join us as we explore the SXSW Creative Industries Expo, London Design Week, and MATTER and SHAPE. It’s going to be an unforgettable journey through the world of design!
South by Southwest, abbreviated as SXSW and colloquially referred to as South By, is an annual conglomeration of parallel film, interactive media, and music festivals and conferences organized jointly that take place in Austin, Texas, United States, March 10-13. Against this backdrop of innovation and creativity, the SXSW Creative Industries Expo stands as an inspiring showcase of industry disruptors, creative innovators, and technological masterpieces.
This four-day event promises to ignite passions, foster collaboration, and unveil groundbreaking discoveries that will shape the future of creative industries worldwide.
The Creative Industries Expo is the epicenter of cutting-edge technology, design, social good, health, wellness, and beyond. Mindfully curated by the SXSW team, the Expo brings together exhibitors from across the globe to showcase their transformative ideas and visionary projects. From startups to established brands, attendees will have the opportunity to explore the latest trends and innovations propelling industries forward.
Spanning various pavilions, each dedicated to a distinct theme, attendees will embark on a journey of discovery and inspiration:
Innovation Pavilion sponsored by Remote:
Experience a collection of disruptors and thought leaders at the forefront of their industries. From groundbreaking technologies to creative pursuits, the Innovation Pavilion showcases diverse trends defining tomorrow’s world.
Global Pavilion sponsored by Los Cabos:
Explore the full spectrum of worldwide initiatives, trends, creators, and tastemakers. Immerse yourself in a hands-on environment where ideas from across the globe converge, offering insight into the future of international industries.
Social Impact Pavilion:
Discover businesses dedicated to making a positive impact socially, economically, and environmentally. From sustainable solutions to community-driven initiatives, these exhibitors are paving the way for a better world.
Health + Wellness Pavilion:
Embark on a journey to improve quality of life through innovative products, services, and ideas. With a focus on holistic well-being, exhibitors in this pavilion are on a mission to make the world healthier, happier, and more balanced.
Entertainment Pavilion:
Step into the world of film, music, gaming, and more. From designers to artists, this pavilion showcases trailblazers who captivate audiences with their creativity and innovation.
Beyond the pavilions, attendees can explore various areas of interest designed to enhance their experience:
Next Stage sponsored by Globant:
Engage in discussions and ideas from exhibiting brands, connecting with innovative ways to do business. Session speakers share their expertise, shaping the future of their industries.
Podcast Lounge:
Immerse yourself in unique podcasts centered on conference programming. From social good to gaming, technology to music, the Podcast Lounge offers a diverse array of content to enjoy.
Networking Lounge:
Forge meaningful connections with industry professionals, friends, and colleagues in a collaborative and creative environment.
The Hub:
Relax, recharge, and catch up on emails while watching simulcasts of Featured and Keynote speakers. The Hub serves as the ultimate space to unwind and stay connected throughout the Expo.
This year, the conference is giving the public free admission to the final day of Austin Industry Day. According to a release, the Expo “showcases some of today’s most forward-thinking brands and technology. The Expo shows how creativity is fueling progress across all industries, from entertainment and health to social impact and more.”
The SXSW Creative Industries Expo is a celebration of creativity, innovation, and limitless possibilities. Join us as we explore the future of creative industries and embark on a journey that will shape the world for generations to come.
London Design Week is one of the key design events of 2024. Being held from March 11 to March 15, 2024, this show is set to be the center of creative ideas, inspiration, discussion, and insights. Located at the Design Centre in Chelsea Harbour, London, the show will be open for visitors from 10:00 to 18:00.
London Design Week highlights include collaborations with international tastemakers such as Bunny Williams with Paolo Moschino, Jennifer Manners with Salvesen Graham, Kit Kemp with GP & J Baker, and Giles Deacon with Sanderson Design Group.
There is a throwback with a Palm Beach design direction which showcases old-world charm mixed with a tropical feel. A connection to nature has been a recurring theme in design, but this season there is an enchanting twist with the aptly named Enchanted Isle design direction which showcases decorative and dreamlike fabrics and wallcoverings that take the eye on a journey to imaginary places.
Each day will be full of events. More than 100 will be curated to engage, inform, and spark the imagination. For example, on March 11, 2024, the David Hunt Lighting team will welcome visitors to their showroom to present a new collection of lighting pieces. Attendees will have the chance to discover the story behind the 300-year-old heritage brand and its range of hand-crafted products. Another event that will take place on March 13 is the discussion between Flora Soames and Kathryn Ireland. They will reflect on the concept of home, and explore the people, places, and objects that have shaped their approach. The following day, on March 14, there will be a Quote & Curate session with Angela Murray that will focus on the merits of including art within interior design projects.
Besides the above-mentioned events, there will be more that will take place during the five days of the design show. There will be several free events in the Access All Areas schedule to enjoy in and around the showrooms, from hands-on demonstrations, meet the meet-the-designer sessions to the debut of creative collaborations. Daily design discovery tours will give visitors the inside track on the most talked-about products at the show.
Adding another layer, pop-up House Guests in situ in Design Avenue will offer more ways for visitors to encounter world-class talent. Some of the most renowned design names are as follows:
In conclusion, London Design Week 2024 promises to be an event offering a dynamic platform for creative exchange and inspiration. With its lineup of well-known figures, thought-provoking discussions, and immersive experiences, the Design Centre in Chelsea Harbour will be a center for creatives from around the world. The diverse program of events ensures that every visitor will find something to spark their interest and give them food for thought.
There are few things as magical as imagining how an object can support us throughout our lives, complementing not just our days but the spaces we use daily. We believe that furniture pieces are more than just objects, they help create our most intimate spaces and truly are parts of our lives. We want to see a future full of incredible new pieces, which is why we (selfishly) took the time to put together a list of some of the best majors in furniture design around the world.
The College of Art and Design offers students a spot where the worlds of art, design, and technology intersect. To tap into their creativity and personal interests, their students learn everything from centuries-old and contemporary methods of producing fine art to the latest in digital media, providing a space where everyone can explore themselves.
Their furniture design program comprises the teaching of various methods, such as carpentry and metal work, promoting the development of the students’ technical abilities and the enhancement of aesthetics. This is a place where what you already care about is not just put to the test but is also given time and tools to grow.
The Rhode Island School of Design is an old college known for it’s design programs that challenge its students to question what is already set on motion, therefore helping evolve the design sphere. Their furniture design program is very sought-after since it not only covers the technical side of the field, such as working with materials and crafting a design but also promotes the study of liberal arts and of the problems society faces daily.
Students are invited to face some of the major challenges of our times and to come up with conscious designs that can help find an answer to some of them. By not losing sight of economic conditions, lifestyles, sustainability, and cultural issues, this program prepares designers to deal with any situation that may arise – and always with the coolest furniture by their side.
The Savannah College of Art and Design has been talked about several times in D5, as many of our interviewees have a past here – interior design, architecture or furniture design, this university has produced top professionals in all areas. Obviously, SCAD deserves to be mentioned here Its furniture design program is considered one of the best in the world for its ability to teach students how to elevate the everyday to the extraordinary.
The Furniture Design program works like a studio, workshop, PR, etc, where you are given everything you need to come up with your very own collections where your personality and taste are the stars. Not only do the materials and tech make this option quite a flirty one, but the quality of the faculty is also out of this world, so nothing will prevent you from being able to succeed in the competitive furniture design sphere if you want it.
The École Superieure des Arts Décoratifs is located in Paris and has been around for more than 250, being one of the greatest in helping to enrich society through art and design. The programs support students while they navigate through the complicated artistic and creative world, preparing them for when they must face it alone – well, not alone but with all the knowledge and strength they got from this college.
Their Furniture Design courses are enriched with scientific theories, history, practical methods, and plastique arts to make sure that their students get everything they need to bring their ideas to life. The student is made aware of the problems and beauties of our times, as well as the influences of the past. They are taught how to thoroughly read contexts, users, and spaces, how to bring all of these results to the workshop, and how to use this to craft their art and find answers to their questions.
The prestigious Pratt Institute is known for its inquisitive and interdisciplinary approach to teaching, and although it does not have a Furniture Design major, it gives classes and, in the end, a certificate to those who want to further their abilities.
Pratt Institute’s Furniture Design Certificate is meant for those who already have foundations in furniture design, including a degree. It gives students the tools to not only navigate the design world but also to grow in it, teaching both practical and technical methods. On another hand, it also delves deeper into the design subject, exploring a variety of structures and technologies that might not have been cut in a previous studying setting.
The University of the Arts London simply describes itself as “a world-class university, shaping the creative industries worldwide”, and continuously strives to achieve this through its many majors in the design and art fields. Central Saint Martins is one of the university campuses, and it is here that the Product and Furniture Design major takes place.
This major focuses on the technical methods of the field, making sure to pass them on to the students. At the same time, creativity and critical exploration also get the spotlight here, as well as the study of the impacts of design on society. On the other hand, the impact of the economy, cultures, political contexts, and environmental challenges are also seen as key parts of any designer’s education. Here, you’ll learn the wants and needs of real people, plus the how and why your work matters.
The West Dean School of Arts is a college that puts its focus on the practical side of design, as well as on the academic. It has a wide variety of majors, all in the field of design, and can be best described as an artistic community in a rural setting with a rich artistic heritage.
Its Furniture Degree in Arts is designed around the study of woodworking theory and craft skills, giving students the foundation to follow up on their dreams. The course gets progressively more challenging as time goes on, which allows students to further explore different aesthetics and their tastes. This is the perfect setting for someone who is looking for quality time in a rich cultural setting, where the art of making furniture is almost embedded in the walls of the school.
The Minneapolis College of Art and Design was founded in 1886 and is recognized as one of the best arts and design colleges in the world. Its education system relies on its faculty members recognized in their fields. and on their innovative approaches to education, making former students some of the best in the design world.
The Furniture degree focuses on a multidisciplinary approach, requiring students to collaborate with other majors while also studying humanities, sciences, design’s technical methods, and tapping into their creativity. On the other hand, the curriculum offers the chance to complete a project start to finish, as it educates students on traditional crafting methods and the professional side of the design sphere, such as building your studio and presenting your work to clients.
Oregon’s School of Art and Design is a creative hub of artists and designers which promotes the students to think, make, see, and question. The college combines old and new technology to bring new ideas into the various creative fields it covers, giving their students everything they need to succeed in a professional environment while still bringing their own taste into the equation.
The Product Design degree offers students a glimpse into what their future could look like by introducing them to subjects such as Digital Art, Sculpture, everything Design, and Drawing. Here, the students can work directly with product design partners with the university, further impacting the students and allowing them to grow. If liberal arts studies, interdisciplinary creative work, and collaboration give you goosebumps, then this might just be for you.
At the Herron School of Art and Design, students are challenged to collaborate with businesses, non-profits, schools, and museums, among many other partners, to make sure their students get all practical sides of the game: production and business.
Anyone who wishes to own a studio one day should consider this college, as its contemporary woodworking, the foundation of the entire program, will give them the tools necessary to achieve their goals while also giving the rightful importance to sustainability. Problem-solving skills, learning how to go from conception to completion, function, aesthetics, assembly, mass-production or unique pieces… what else could a design student want?
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.