Category Archives: Design Inspirations

Back to the Drawing Board: Inspiration from Milan

In a transitory world where opinion is a matter of state of mind, Milan Design Week 2012 introduced several perspectives into our creative minds.


Astonishingly, kitsch was in evidence this year. Bright colors, golden tones, random shapes, leading to the concept of living as you feel and feeling how you live. There was a profusion of pink, yellow, green, mirrors, jaguars – or better saying a full zoo – sharing the same space.

Obviously grey, beige, white and black played their role, but still the message was clear: everything is possible and preference is relative.


Italians are specialists in communicating through images. They know how to create, develop and present an idea. Even better, they know how to be legitimated for ideas that wouldn’t be as much accepted as if coming from other cultures. It’s not a coincidence that Milan is a reference in new trends.


Nevertheless, the best part comes afterwards. It’s productive to our daily routines to process the ideas, summarize the concepts and extract meanings from everything we saw on the design week. Design is the essence of our work, and from time to time it’s good for our minds to get some distance from a cartesian world and bring a wave of freshness and inspiration into our drawing boards.

Antonio is the principal partner at Dante Della Manna in Sao Paolo, Brazil. He is LEED AP and very recognized professional in the Corporate segment.   

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RoyceE

Designers Only: Breaking Down the Big Ideas

The Milan Furniture Fair, called i Saloni by the Italians, happens each May in Milan Italy. It is one of, if not the most, prestigious furniture trade shows in the world due to the prominence of Italy’s place in design history and current product offerings that continue to delight the rest of the world. The show is now over, but we were so lucky to get a glimpse into the show and see some of this year’s top introductions by mainly Italian and other European manufacturers.

The show is situated on Milan’s fairgrounds, which is quite large and offers extensive space to see over 1700 vendors and their displays. There are 22 buildings that house all of this, and so it’s virtually impossible to see everything even in the week that the show is around. The pavilions are divided up by type of products, and eight of these are devoted to mainly commercial and retail companies, such as Moroso, Vitra, Molteni, Fiam, etc. There are five pavillions devoted to kitchen design, and then another two for bath. We focused mainly on the design companies providing furniture for contract use, but even that was a challenge to see it all.

Trends were abundant, as were plenty of sightings of cool things that we will expect to see in the US in the future. Like most trade shows, the products on display range anywhere from already on the market in the US and Europe, to prototypes that may never reach the point of mass manufacture. But seeing all of this helps to put today’s market in context and give us some strong ideas about where the world of design is headed.

One thing we noticed right away was a desire to tell the story of “process”, whether it be about how a product comes to life or how it can be deconstructed (or easily constructed). This is most likely a reaction to how products can easily be treated as a commodity that can be knocked off, as many of us today are craving authenticity and honesty in our world. Kartell went so far as to use this concept in their booth, showing how all their new products have come to life in sketches, videos, and prototypes.

Kartell showing mockups for Foliage sofa and chairs

Kartell showing mockups for Foliage sofa and chairs

Kartell's Foliage Sofa

Kartell's Foliage Sofa designed by Patricia Urquiola

Another trend emerging is the softening of furniture. What do we mean by that? For many years, minimalism and clean design only allowed crisp, hard edges and uniformity of materials, many of which were metal. Not so any more! We can easily see this trend in chair design, where almost everyone had a side chair that had wood legs and either an upholstered or hard seat in a different material. We also saw this trend in lounge seating, where cushions are overscaled and loose. We saw this in tables with the top being one material and the base being wood. There was also the addition of rope and woven details, mixed in with wood. This trend seems to come from the idea that we all desire materials that not only speak to authenticity (wood over man-made materials), but also that we respect nostalgia. As we move into uncertain times in a world dominated by technology, and natural and man-made crises, we are looking to more familiar things that make us comfortable.

Other popular trends that we have already started to see emerge here in the US are the growing use of communal tables (mixing the familial with the familiar), blending globalism and multicultural influences into design objects, and more casual and relaxed living (since work, home, and life are all blended).

Communal table by Arco

Communal table by Arco

For more design insights from Royce, visit www.repeatnorepeat.com or follow her on Twitter @RepeatNoRepeat. 

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RoyceE

Designers Only: A Cause Celebre

Join us for the first in a two part series exploring the sights and trends from the 2012 Milan Furniture Fair courtesy of design insider, Royce Epstein.  

Very exciting to be posting from Milan, the design capital of the universe (at least for this week).

The beauty about Milan Design Week is that it is not just about i Saloni, the main trade show that showcases all types of Italian and European furniture, bath, and kitchen products. The entire city embraces design and participates in the festivities, making design a veritable “cause celebre” and indeed one of Italy’s great exports.

Before heading to the Saloni at the fairgrounds, I visited one area in the hip Zona Tortona that is part of the city’s extra events called “fuori salone”, literally meaning “outside” the show. Once there, I was greeted by graffiti  shouting dismay at all the design madness (“Design ruins our lives”).

Surely this sentiment is at odds with the city’s thriving cultural scene as well as commitment to promoting Italian design, but it made me think about just what is the role of design. Design first and foremost solves problems to give people solutions for living and working. And design can change lives for the better (see what MASS Design is doing in Rwanda). Design can also bring a sense of purpose, order, and resolve in a chaotic world. At least this is what I tell myself when I go to work every day. So after that encounter with the graffiti, I then met these two guys hawking goods clearly “not made by a designer”.

Was this another reaction against the swarm of people who descend on Milan disrupting the natural order of the city, or was this performance art? Or even design itself? Since my Italian is rusty, I couldn’t get a good answer. It is clear however, that access to design sometimes can appear to be for designers only, and many feel left out. Good stuff to think about as I moved into the show…more in the next post…

For more design insights from Royce, visit www.repeatnorepeat.com or follow her on Twitter @RepeatNoRepeat. 

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Milano 2012 – La Triennale

A Q&A with Francesco Bandini and Michele Iacovitti 

Interface first exhibited at La Triennale in 2011, with the highly conceptual presentation, The Positive Floor. Such an innovative way to present carpet tiles had never been seen before in the industry, and earned Interface widespread recognition as a true design leader.

250m2 of mirrors on the ceiling reflected the stunning designs of the carpet tiles, creating the illusion of an elevated floor – a ‘positive floor’ forwhich there was no longer the need to look down. The shape of the exhibition units, reminiscent of the disrupted lines of a river-bed during a severe drought, raised awareness of climate change issues and of Interface’s approach to sustainability.The Positive Floor received praise from all over the world. The press described it as one of the few ‘must-visit’ exhibitions during Milan Design Week, and internationally respected designers expressed their admiration.

Following the incredible success of The Positive Floor, this year’s Interface exhibition shows all the signs of becoming another global success story. We talked to Michele Iacovitti, Vice President Marketing Communication & Branding at Interface, who created the Metropolis concept, and to Francesco Maria Bandini, the architect, artist and fashion designer who helped visualize it in a stunning design exhibition.

Michele,  you have told us already about the Metropolis concept, but what is its core expression at the Triennale exhibition?

 Michele: Well, with Metropolis our product designers wanted to create a collection that reflects this year’s leading design and socio-cultural trends. Trends that are about the fall and rebirth of human cities, about the natural regeneration of things into a more sustainable future, and about the power of nature over architectural destruction. I asked Francesco how we could express the terrifying signs of a catastrophic event – but, at the same time, also express the hope for a new, better future. We wanted to express the human hope for something better than we have left behind or that no longer exists.

 Francesco: When Michele presented to me the idea of Metropolis, the first thing I thought was, “La fine di un’Era è necessariamente l’inizio di una nuova”, which means, “the end of an era is necessarily the beginning of a new one”.It may sound obvious, but I looked deeper into this subject, keeping my focus on the human aspect and on the elements associated with the theme of rebirth. Just like all other living creatures, humans have instincts for survival, adaptation and a sense of community. However, what differentiates us from the rest of the natural world is a sense of self-perception and the constant need for not simply expressing ourselves but for expressing ourselves through real beauty.

 

So you mean that for the Metropolis  design exhibition you wanted to create something beautiful?

 Francesco: I believe that the visitors at the Triennale exhibition will be the best ones to answer that question! What I mean is that the concept of beauty in its integral meaning has been fundamental for me when developing the design concept of the exhibition.

To find the ‘design key’ of how to transmit this, I asked myself a simple question: what image would a human mind conceive at the moment of the revelation that all of the known world is gone and that something new is being created? And I imagined light, pure light as the key element of the creative concept of the Metropolis exhibition – because everything has its origins in light.

 Michele: Exactly – a pure expression of the alienation of everything, from which everything will be reborn. Pure light, the origin of existence, from which extraordinary forms will take new life. Something new, outstanding, and more sustainable.

In our Metropolis product collections, and then supported by a strong visual campaign, we have symbolized the past, present and future of human civilizations and their cities – their Metropolis indeed. The design concept of our exhibition at the Triennale symbolizes therefore the future…

So this explains why you chose the name ‘Metropolis’ and also why pure light is the key design element in your exhibition?

 Michele: It certainly does. Metropolis is like the hopeful vision of a new and more sustainable future after an ideological apocalypse. We have conceived an imaginary place where we all dream of living and working. A place like a cocoon, inviting us to nest and be creative. The Metropolis exhibition expresses humankind’s continuous desire for constant regeneration; the everlasting hope for something new and better that will follow any destructive or apocalyptic event.

 Francesco: Indeed, something as beautiful as pure light. The exhibition emerges from the ground that has now lost its physical connotations to become something transcendent, from which the matter, now seen as new opportunities, is reborn in all its beauty and possibilities. This is represented by an ordered series of geometries that rise dramatically up towards the sky, symbolizing the initial fragments of what will be a new path for humankind’s rebirth.

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Jennifer Busch

Faster, Cheaper…Better

Good design is increasingly critical to good healthcare

If the healthcare sector routinely exists at the center of multiple, sometimes opposing forces, today it is being pulled in more—and more complex—directions than ever before, all of which have some influence on the design of medical facilities.

Let’s start with the obvious—the economy. If the healthcare sector did not experience the kind of cataclysmic downturn suffered by other sectors, it’s only because profitability margins in healthcare have been trending downward for years, even as the cost of medical care to the patient continues to rise. The demand for state of the art healthcare and healthcare facilities is increasing as the Baby Boomer generation ages, yet the available capital funds necessary to build and renovate have been significantly curtailed by a loss of investment income. Uncertainty around President Obama’s healthcare reform act, which is being contested in the Supreme Court as I write this, makes long term planning difficult. And by the way, the patient at the center of all this is an increasingly sophisticated consumer, so the competition among healthcare providers to attract and retain the best medical professionals, and provide the best care in the best facilities, is fierce.

Northwest Community Hospital South Pavilion, Arlington Heights, IL, designed by Cannon Design; Photography by Christopher Barrett

Adding to the complexity is the broader role of healthcare facilities in our built environment. “These projects are so large, touch so much of the urban fabric, involve so many people, and are so expensive, that they must be treated as the major civic structures they are,” says Randy Guillot, Design Principal at Cannon Design in Chicago. Gone are the days when creating healthcare environments involved little more than designing to code. “The quality of design in these buildings is really high,” notes Guillot, “and talented designers are bringing the latest design tools to bear, not just on the design, but on the functional areas as well.

All this makes the role of the healthcare architect and interior designer more challenging—and more critical—than ever before.

What is the design response to the many social, economic, political, demographic, and technological trends tugging at the healthcare sector? “The value proposition is better, faster, cheaper,” says Jeffrey Stouffer, Principal at HKS Architects in Dallas. The “faster” part increasingly is being addressed with lean project delivery, a risk/reward equation whereby owner, developer (third party developers, once an anomaly, are increasingly common in the healthcare sector), architect, and contractor all share the responsibility for cutting out waste in the design process and delivering the most operationally efficient facility possible—a better, more functional facility.

“The premise is that if you do it better, it will also be cheaper,” Stouffer adds.

Some examples of “better” design in healthcare, he says, include improved functional adjacencies for ideal operational flow and improved delivery of care in a reduced amount of space, shorter foot travel distances for caregivers on the job, a reduction in supply waste, and the introduction of sustainability measures that reduce long term operational costs.

Integris Health, Edmond, OK, designed by HKS; Photography by Blake Marvin

Ultimate flexibility is also key to long term operational efficiency, so the universal patient room, which is scalable and adapts to alternate uses, is increasingly favored in the design of acute care facilities. Otherwise, patient rooms are designed to accommodate family members around the clock as much as patients, and in some cases—especially in pediatrics—family members are encouraged to take an active role in the care of the patient. This provides psychological benefits for the patient, but also reduces strain on the nursing staff.

Maintenance is another huge factor of operational efficiency, and should inform the intelligent selection of materials and finishes. “We need to do more with less so we need to be looking at life cycle costs of materials and not just first costs,” says Guillot. “Flooring is a great example. Maintenance can quickly eclipse the first cost of a material if not chosen wisely.”

There is also growing documentation of the benefits of evidence-based design in healthcare, thus moving the concept out of the realm of the theoretical and into the realm of best practice benchmarking. Key findings on the environmental aspects of healthcare design indicate that daylighting, exposure to nature, strategic use of color, inclusion of artwork, and individual control of the patient environment all contribute to more positive patient outcomes. “We have been doing all of these things intuitively,” says Stouffer, “but we are starting to gain quantitative evidence that they provide true benefits.”

Among environmental factors, acoustics has become an area of particular concern. For example, “We have so many hard surfaces to keep the facility easy to maintain and as a result, have noisy environments impacting caregiver ability to concentrate on tasks and the patients’ ability to rest and heal,” says Guillot. Cannon Design is currently involved in a research study on the impact of acoustics on patient outcomes.

Both Guillot and Stouffer note that healthcare is shifting more and more toward an ambulatory care model. “Healthcare at home is on the horizon,” says Stouffer, since modern technology increasingly allows for remote diagnosis and treatment. And Guillot points to a new trend around a “retail” approach to healthcare, where services are available in retail settings away from the traditional hospital, clinic, or medical office building. “What does this mean for design?” he wonders. “How do you extend the brand of a provider into a new setting?”

In any case, gone are the days when only the rare architect or interior designer actually chose to specialize in healthcare design. “There is a vitality in healthcare design at the present time,” says Guillot. “Healthcare has moved into the general mainstream, and it is likely to stay there. Hospitals and other healthcare related projects are now judged in the same terms as all great architectural projects. They are expected to bring forth the same level of craft, innovation, and most importantly—intellectual and creative ideas.”

Even Starchitects like Frank Gehry have gotten into the act… http://www.architectmagazine.com/healthcare-projects/lou-ruvo-center-for-brain-health.aspx

Interesting Fact: According to Jeff Stouffer, the cost of information technology in an acute care facility has now surpassed the cost of the medical technology housed therein.

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