Ali Di Luna (moon’s Wings) Rocking Chair Interview

Interview with Stefania Vola (SV), regarding views on design, and for the award-winning Ali Di Luna (moon’s Wings) Rocking Chair design. Ali Di Luna (moon’s Wings) was a 2012 - 2013 period Platinum A' Furniture, Decorative Items and Homeware DesignAward Winner.

 
 
 
 

Interview with Stefania Vola at Monday 4th of March 2013: FS: What is the main principle, idea and inspiration behind your design? SV : I believe that it happens to everybody sometimes to want to flee from the chaos and problems of the world, to regenerate into a dimension where thoughts are light, bright ... When I was a child sometimes, in the evening, I imagined being surrounded by two large white wings (I do not know where sprouted!) which gave me a deep wellness ... In designing this chair I felt the need to recreate that sensation for those who would sit: so I started by drawing the profile of two wings, which had to be around the person, to wrap the body, and be at the same time structural. In seeking a formal synthesis, I tried to find a mark as possible sharp and continuous, or a wide arc. At that point I knew it could only be a rocking chair and that the swinging would favor the feel of being joyful and thoughtless. So I completed the structure, trying to connect the elements in a harmonious way... FS: What are your future plans for this award winning design? SV : The prototype of 'Ali di luna' is part of the collection 'interioritratti' (www.interioritratti.com), the brand I created to start my projects artistically inspired. As I think this design fits well to serial production I want to propose it to an interested company. ‘Ali di luna’ could fit to special spaces, such as SPA, swimming pools, cocktails bars - in the oudoor and in the indoor - and private homes. I do not exclude, in collaboration with this company, to take care of some limited edition, characterized for example by special colors and graphic details... FS: How did you come up with the name for this design? What does it mean? SV : Looking at the profile of the chair might seem also a half-moon. As I told before the design of the profile arises from an interpretation of imaginary wings and the goal was to obtain a dreamy structure, which would invite you to enjoy a relaxing state... almost as you were sit on the moon ... so here's the name 'Ali di luna' (Moon’s Wings)!..

Fk Series Folding Utility Knives Interview

Interview with Jim Kershaw (JK), regarding views on design, and for the award-winning Fk Series Folding Utility Knives design. Fk Series was a 2012 - 2013 period Platinum A' Prosumer Products, Tools, and Machinery DesignAward Winner.

 
 
 
 

Interview with Jim Kershaw at Friday 8th of March 2013: FS: What is the main principle, idea and inspiration behind your design? JK : Taking design cues from high-end super cars, a legend in aviation, and a dominate ocean predator, the industrial design of IRWIN’s new folding utility knives with BladeLock Technology is engineered for the professional tradesman. While capturing the aggressive edge of the famed World War II P-51 Mustang in overall design, the contour of the knife’s top spline mirrors the profile curve of a sleek Italian super car. The detail scallop in the knife’s blade holder follows the lines of a super car’s air ducts, while the cast iron finger grooves mimic the gill slits of the powerful Mako shark. Marrying these three iconic symbols of sleek design, IRWIN’s new knife program takes hand tool design to the next level. At IRWIN Tools, we design and develop innovative hand tools and power tool accessories with the world’s professional tradesmen in mind. Our obsession with our end-users and the in-depth consumer research we conduct allowed us to identify the frustrations tradesmen experience with folding utility knives that are in the market, today. With this data, it allowed us to design and engineer the next generation of IRWIN folding utility knives that are compact, durable, and easy-to-use with patented innovative features and desirable benefits. .. FS: What has been your main focus in designing this work? Especially what did you want to achieve? JK : From day one of this project, we set out to learn what our end-user, professional tradesmen, really wanted in a folding utility knife. Listening to their needs and working side-by-side with end-users to show them the possibilities, through meaningful design, we were able to develop something together; folding utility knives that would meet and exceed their expectations on and off the jobsite. .. FS: What are your future plans for this award winning design? JK : These new knives will hit the North American market in May 2013, and will roll-out to other parts of the world later in 2013. Ultimately, our goal is get these knives in the hands of our users as soon as possible...

Or2 Photochromic Canopy Structure Interview

Interview with Rajat Sodhi (RS), regarding views on design, and for the award-winning Or2 Photochromic Canopy Structure design. Or2 was a 2012 - 2013 period Platinum A' Arts, Crafts and Ready-Made DesignAward Winner.

 
 
 
 

Interview with Rajat Sodhi at Saturday 9th of March 2013: FS: What is the main principle, idea and inspiration behind your design? RS : Both our installations Or1 and Or2 are using photochromic polypropylene in order to create roof structures which can passively control the environment underneath them. The smart material reacts to UV light and automatically blocks out the sun if there is too much light... FS: What has been your main focus in designing this work? Especially what did you want to achieve? RS : Or1 is a hanging structure. In order to make Or2 more self-supporting we took inspiration from the internal geometries of seasquirts: We created a branching system to hold up the canopy. This structure is stable due to the small radii at each point, which create bending within each pp segment and therefore stiffness within the branches... FS: What are your future plans for this award winning design? RS : Using space-colonisation algorithms we have developed larger geometries for canopy structures which we are envisioning for the construction of large scale roofs. We have designed a shopping mall in London using this system, and we are working on other applications for medium to large scale buildings...

Catino Bathroom Collection Interview

Interview with Emanuele Pangrazi (EP), regarding views on design, and for the award-winning Catino Bathroom Collection design. Catino was a 2012 - 2013 period Platinum A' Bathroom Furniture and Sanitary Ware DesignAward Winner.

 
 
 
 

Interview with Emanuele Pangrazi at Friday 12th of April 2013: FS: What is the main principle, idea and inspiration behind your design? EP : I don't think that there has been an inspiration or a particularly well defined principle, but there have been several factors that have enabled to achieve this result. I'm generally attracted to the humanist project, the impact that this has on people and what this tries to communicate. According to this line of thought, I try to make sense of what I do to create the semantic relationships between shape, memory, and communication. You know when you have a thought in your head that you can't quite see? Then you read a sentence somewhere and everything becomes clearer, because It's the best way to explain what was just a confused idea in your mind. I would like my projects to be like that sentence..... FS: What has been your main focus in designing this work? Especially what did you want to achieve? EP : Through this project I have tried to create a collection that could combine functionality, ease of use and a minimal aesthetic, together with details that have a nostalgia of the past... FS: What are your future plans for this award winning design? EP : I hope that this award will bring me increased international visibility, usually I don't care much for direct marketing because I'm more focused on the project and its more operative aspect...

Agraz Restaurant Corporate Identity Interview

Interview with MARCELO LOPES (ML), regarding views on design, and for the award-winning Agraz Restaurant Corporate Identity design. Agraz Restaurant was a 2012 - 2013 period Platinum A' Graphics and Visual Communication DesignAward Winner.

 
 
 
 

Interview with MARCELO LOPES at Monday 25th of March 2013: FS: What is the main principle, idea and inspiration behind your design? ML : Agraz Restaurant’s brand was inspired by Brazil’s 27 states. The round symbol was inspired by the center of the Brazilian flag. The colors represent the miscegenation, diversity and the meeting of cultural globalization at the hotel. The dimensions of the stripes were inspired by the density of the population within each Brazilian state. The inspirations for the institutional campaign were the new food menu created by the chef, with of all its mixed flavors and the logo colors. Tastes meet the spice of imagination! Based on the title and on the brand, temporary and replaceable playful images were created. They can be replaced every 45 days in all the campaign pieces... FS: What has been your main focus in designing this work? Especially what did you want to achieve? ML : Behind of the new brand, the main focus was the menu creations. Menus enable a sensorial experience by means of the texture of the material and logo application in resin, which gives it a 3D effect. Another example of interaction is the difference in the color of the menus – black menus for men and white menus for women. .. FS: What are your future plans for this award winning design? ML : I don’t have future plans for this project because the main focus was to developed the new brand and menus just to use in the Agraz restaurant. It worked well and I’m satisfied. The future plans are only to include the project in my portfolio as one more award-winning project and maybe to get new clients. (smiles). ..

Il Mosnel Qde 2012 Sparkling Wine Label and Pack Interview

Interview with Laura Ferrario (LF), regarding views on design, and for the award-winning Il Mosnel Qde 2012 Sparkling Wine Label and Pack design. Il Mosnel Qde 2012 was a 2012 - 2013 period Platinum A' Packaging DesignAward Winner.

 
 
 
 

Interview with Laura Ferrario at Tuesday 26th of March 2013: FS: What is the main principle, idea and inspiration behind your design? LF : This concept arises from the graphic re-elaboration of the historical image representing the shape of the lake and expresses all the power with which a freshly uncorked Reserve bottle is poured into a crystal glass. Just as the Iseo Lake splashes on the banks of Franciacorta, so the sparkling wine wets the sides of a glass. The little bubbles mix in the jet of the sparkling wine and create an expectation, an emotion that awakens a desire to open the bottle... FS: What has been your main focus in designing this work? Especially what did you want to achieve? LF : Usually labels are only graphical and my aim was to find a concept that would combine the territory and the product... FS: What are your future plans for this award winning design? LF : This project was born in the context of a competition: every year the wine farm “il mosnel” selects six Italian graphic designers who have to propose a design, and mine was chosen as the winning design for 2012. It has already won two more prizes and therefore I hope that all this promotion will allow my office to become known also abroad...

5 Elemente Wine Label Interview

Interview with Valerii Sumilov (VS), regarding views on design, and for the award-winning 5 Elemente Wine Label design. 5 Elemente was a 2012 - 2013 period Platinum A' Packaging DesignAward Winner.

 
 
 
 

Interview with Valerii Sumilov at Friday 12th of April 2013: FS: What is the main principle, idea and inspiration behind your design? VS : The main inspiration for my design was the wine itself named “5 Elemente”. Dry red wine produced under this trademark is unique in many ways, including taste, flavor and décor. This product is rather unique for the market because it is made out of five different wine varieties: Shiraz, Merlot, Carmenere, Rara Neagra and Malbec. Usually a blend is comprised of two-three grape varieties, the final balance of which in the product is the result of numerous experiments and refinements. This makes the product in question even more unique, as it is a result of a production experiment that was undertaken by the company Equinox in rather harsh conditions... FS: What has been your main focus in designing this work? Especially what did you want to achieve? VS : When creating this design I wanted to communicate the concept of exclusiveness, refinement and status, which corresponds to the positioning of this product. The wine was produced in a limited series of 1150 bottles in the high price segment, and it could only be purchased in upscale and expensive restaurants. That was my main focus when working on this design... FS: How long did it take you to design this particular concept? VS : It took me about two weeks to create the main concept, including the accumulation of information and creation of three different directions. Afterwards, the concept was refined from the technical point of view. The project itself took about 5 month to complete, starting with the initial inquiry to its final production in the printing house. ..

Golden Moon Public Event Space Interview

Interview with Laboratory for Explorative Architecture & Design Ltd. (LEAD) (L(), regarding views on design, and for the award-winning Golden Moon Public Event Space design. Golden Moon was a 2012 - 2013 period Platinum A' Architecture, Building and Structure DesignAward Winner.

 
 
 
 

Interview with Laboratory for Explorative Architecture & Design Ltd. (LEAD) at Saturday 13th of April 2013: FS: What is the main principle, idea and inspiration behind your design? L( : The Golden Moon revisits the concept of a Chinese lantern and makes a direct link to the legend of Chang’e, the Moon Goddess of Immortality – two elements strongly associated with the Mid-Autumn Festival. According to the romantic story Chang’e lives on the moon, away from her husband Houyi who lives on earth. The couple can only meet on the night of the Mid-Autumn Festival when the moon is at its fullest and most beautiful. To symbolise the passionate love burning between the reunited couple that day, the 6-storey-high, spherical moon lantern is clad with abstracted flames in fiery colours and patterns. Traditional materials for making lanterns, such as translucent fabric, metal wire and bamboo, have been translated to a large scale. A light-weight steel geodesic dome forms the pavilion’s primary structure and is the basis for a computer-generated grid wrapped around it. This grid is materialised through a secondary structure from bamboo. For this, Hong Kong’s traditional bamboo scaffolding techniques were used. This highly intuitive and imprecise craft was merged with exact digital design technology to accurately install and bend the bamboo sticks into a grid wrapping the steel dome. This grid was then clad with stretch fabric flames, all lit up by animated LED lights. The bamboo and flames follow a pattern based on an algorithm for sphere panellisation that produces purity and repetition around the equator and imperfection and approximation at the poles. This gradual change creates a very dynamic space that draws spectator’s view up towards the tip. By putting the axis of this cladding grid not vertical but under an angle, the dome gets an asymmetric directionality. This motion is reinforced by the entrance which is placed along this tilted axis to draw people into the sphere and where they get swept away along the grid’s tangents and vectors. The colouration of the pavilion amplifies this effect of submergence in a light wonderland. On top of the black painted steel structure, which forms a neutral base, eight different, saturated colours of stretch fabric are used for the flames. The colours gradually range from ivory and yellow to intense orange, red and deep bordeaux. The brightest colours are used at the tilted base whereas the darkest colours are used at the pole where they, together with the more scrambled geometry, make the pattern disintegrate into the black night sky. .. FS: What has been your main focus in designing this work? Especially what did you want to achieve? L( : The Golden Moon strategically combines digital design techniques, such as computer programming, with traditional crafts and basic materials. The Golden Moon was built in only 11 days and shows how complex geometry can be built at high speed and low cost with the simplest of means. This we call “Building Simplexity”. It rethinks the premise of digital design by anchoring the paradigm in a strong materiality. With over 400,000 visitors during its 6-day lifespan, the pavilion used its dynamic space, structure, colour, texture and light to trigger a sensuous response from visitors of 2012’s Mid-Autumn Festival... FS: What are your future plans for this award winning design? L( : The Golden Moon was a temporary installation and has entirely been recycled after 6 days of display. The concepts of combining contemporary design methods with alternative ways of constructing are a constant in our work and are carried forward into future projects...

Shenzhen Universiade Sports Center Outdoor Lighting Interview

Interview with Conceptlicht GmbH (CG), regarding views on design, and for the award-winning Shenzhen Universiade Sports Center Outdoor Lighting design. Shenzhen Universiade Sports Center was a 2012 - 2013 period Platinum A' Lighting Products and Lighting Projects DesignAward Winner.

 
 
 
 

Interview with Conceptlicht GmbH at Thursday 2nd of May 2013: FS: What is the main principle, idea and inspiration behind your design? CG : Lighting design is perception design. As light itself is invisible, we can only perceive reflections, which is the illumination of surfaces with different levels of brightness. Illuminated areas gain a visual significance and appear more meaningful than darker ones. For a convincing lighting design, it is important to only highlight those architectural elements that are crucial for understanding the space and really are meaningful. Accidentally illuminating nearby areas, too, would mean to attach an unjustified importance to them. However, if the hierarchy of light does not match the actual hierarchy of elements, the perception of space is distorted, making light appear as a foreign substance, artificial and unreasonable. .. FS: What has been your main focus in designing this work? Especially what did you want to achieve? CG : The main goal was to create a magic light atmosphere, without allowing a destructive look behind the scenes. The lighting design should appear as natural and logic as possible, allowing an undisturbed experience of space. It is the light that shall be seen, not the luminaires. Nevertheless, the crucial point is to enhance the architecture by light, not to superimpose it. .. FS: How long did it take you to design this particular concept? CG : The development and realization of the lighting design concept happened simultaneously to the development and realization of the architectural building concept. Both designs influenced each other, starting in 2007 and finishing in 2011. ..

Small Dogs Toy Interview

Interview with Salvatore Solito (SS), regarding views on design, and for the award-winning Small Dogs Toy design. Small Dogs was a 2011 - 2012 period Platinum A' Toy, Games and Hobby Products DesignAward Winner.

 
 
 
 

Interview with Salvatore Solito at Friday 20th of April 2012: FS: What is the main principle, idea and inspiration behind your design? SS : My design it’s emotional and instinctive. The inspiration for my works became from a desire, an emotion or a memory. .. FS: What has been your main focus in designing this work? Especially what did you want to achieve? SS : Create an object that looks real and alive. Dog it’s a toy which become a piece of furniture, you can find everywhere, when the hosts arrive.. it doesn’t hidden itself in the toy box, because otherwise it’s a mess, it is not ashamed to be a toy, it is dignified in manners, in colors and materials, it can stay in the living-room, in the kitchen, in the bedroom... FS: What are your future plans for this award winning design? SS : I would like small dogs were produced in series, and distributed. ..

Smart Media System Media System Interview

Interview with Alexander Werbickas (AW), regarding views on design, and for the award-winning Smart Media System Media System design. Smart Media System was a 2011 - 2012 period Platinum A' Digital and Electronic Devices DesignAward Winner.

 
 
 
 

Interview with Alexander Werbickas at Monday 16th of April 2012: FS: What is the main principle, idea and inspiration behind your design? AW : The main idea of the Smart Media System was to create a seamless interaction between the users and their content, focusing on an ecosystem of products that integrates media technology... FS: What has been your main focus in designing this work? Especially what did you want to achieve? AW : Focusing on compiling data to design the next step in home entertainment integration. Key features to the Smart Media System are the wireless transmission of data and the ability to share content through your own network and other networks... FS: How long did it take you to design this particular concept? AW : The Smart Media System concept was carefully developed in a three months time, however the concept continued to grow for eight more months...

Vertical + Horizontal Farm Tower Farming and Crop Distribution Tower Interview

Interview with Kevin Chu (KC), regarding views on design, and for the award-winning Vertical + Horizontal Farm Tower Farming and Crop Distribution Tower design. Vertical + Horizontal Farm Tower was a 2011 - 2012 period Platinum A' Futuristic DesignAward Winner.

 
 
 
 

Interview with Kevin Chu at Thursday 19th of April 2012: FS: What is the main principle, idea and inspiration behind your design? KC : As global population increases and resources are unable to compensate for the insatiable appetite of the human race, the concept of the agricultural metropolis has to be developed to meet this demand. As we all know, more and more people are migrating to cities from the suburbs but the rising cost of logistics, commodity inflation as well as the increase demand for food consumption forces the birth of creating farmlands within the restrictive spaces of a city. This will not only grant city dwellers fresher agricultural products at a lower cost but can also increase green zones and improve surrounding environments. The Vertical Farm was born of these criteria and it was a brilliant solution but I believe there needs to further inspiration in order to make this concept more educational and attractive to the present and future generations. To this day “farming” and the concept of the “farmer” is still viewed by the general public as a low paid and manual intensive labor. More and more youth born from the country side are discontinuing the farming profession in order to seek less physical and higher paid work in cities. I wanted to design a farming community that can truly embrace pioneering technology as well as educate the next generation to view farming as a “cool” profession that can deeply benefit the continuous expansion of the city. The building I started to contemplate does not merely just serve as a vertical farm structure but also an educational and experimental laboratory on agriculture, renewable energy as well as a social environment where farmers and local residents can “mingle” and learn from each other through behavioral science. All the residents in this place gets its own produce for free and the vicinity’s gathered crops can also be distributed around London and sold in a substantially lower market price in minimal amount of time from cultivation. The Vertical+Horizontal farm should manifest a true philosophy of the 21st century farming ideology and create a true social point of this new generation of metropolis agriculture to the world. Inspired the concept of the Sun Dial, Guilin & Yunnan (China) Step Farming method, Aeronautical Engineering as well as the Dragonfly Wing structure, the V+H farm serves as the world’s most technologically advance, fully self-sufficient and eco-friendly structure. All of the green energy technologies within the structure are of experimentation stage at present but I foresee them to replace our current archaic methods. This included Solar Helium Balloons, E.T.F.E Transparent Photovoltaic Skin, Laterally Mounted Wind Turbine as well as Plant Covered External Cladding System that absorbs surrounding CO2 admission of London. The main structure of the building are designed as residential, commercial, research and activity spaces and completely cladded with Perforated Titanium Tiles that allow for plant growth through its holes. Since the structure’s skin will eventually be covered with plants, the whole main building will change in texture and color according to the four seasons and one never has to worry about façade maintenance which leads to a much lower longer term cost and environmental sustainability. The windows of the central structure employs the latest generation of chromatic reflective glass which can control sunlight filtration by means of electrical molecular transformation. The windows also serves as a one-way mirror thus further reducing material need for privacy. Farm fields are located at the ground level as well as each of the horizontal “wing” structure protruding from the building. Each of these “wings” has a 150m structural span and houses farmlands as well as seed research laboratories within its Monocoque structure. The insect like transparent wing canopies are made of E.T.F.E (Ethylene Tetrafluoroethylene) skins with photovoltaic cells embedded within the material. Their function is to turn each of the wing farms into a greenhouse during the colder months of London as well as providing solar energy for the structure and controlling transparency levels within each farm compartment. The complete V+H farm will stand at 312 meters high with one of the tallest organic restaurant, sky lounge, conference hall and theater in the world. Each wing farm is able to rotate 360 degrees from the central axis in order to gain maximum exposure of the sunlight throughout the day while the underneath structure contains storage cocoons gathering crops from farmland above. These cocoons are constructed out of a volumetric telescopic structure and can increase in size according to internal stock volume with their outer skin made of recycled fabrics. The cocoons are actually robots that utilize V.T.O.L (Vertical Take-Off and Landing) propulsion rotary engine which are allocated above the collection structure. Once each cocoon is full they can be guided around London for crop distribution and can be controlled by G.P.S (Global Positioning Satellite) technology same as that found in automobiles. Each cocoon can recharge its electrical energy when it docks back at the main wing farm structure. The design of the protruded wing farm also helps to reduce the building’s footprint on surrounding areas and because each wing is constantly rotating around the main structure, intrusive shadow casting is reduced to a minimum. The ground level of the V+H farm contains further farming fields that function as introduction to the technique and physiology of farming for the casual visitor and beneath these field are residential quarters for V+H resident farmers. The entrance to the main structure is set back between the fields and access walkways are sliced in between forcing the visitor to pass through the farmers’ residence. This is created in order to maximize the interaction between farmers and visitors which through this social manifestation, a better acknowledgment of agriculture will be gained by the layman and hopefully provoke verbal and information promotion. The V+H farm is a dynamic and constantly changing entity in the heart of a buzz ling metropolis. It is an organism that changes, absorb, educate, transform through time and circumstances. I believe it shall become the essence of 21st century agriculture itself and its dynamism will hopefully provoke a new generation to embrace farming in a vastly more innovative and reacceptance attitude. .. FS: What has been your main focus in designing this work? Especially what did you want to achieve? KC : I wanted to create a structure that pave the way to what future metropolis agriculture will be while at the same time introducing the audience to future sustainable technology that are still in its infancy currently. I notice that most present sustainable buildings are not maximizing or exploring new green technology and transformable architectural structure has never been considered seriously. These concepts, i believe, is what architecture has to be headed in order to create truly efficient buildings catering for the continue growth of the food consumption issues face by our planet... FS: What are your future plans for this award winning design? KC : Many of the rather "insane" ideas will be trickle down to my current projects and some of the advance sustainable technology such as solar helium balloons canopy will also be investigated in my other designs. I hope this project can be publish in more magazines and architectural articles as i want to create a global forum on discussing future agricultural ideology for our cities...

Deundeunhan Beans Beverage Interview

Interview with Woongjin Food Design Team (WD), regarding views on design, and for the award-winning Deundeunhan Beans Beverage design. Deundeunhan Beans was a 2011 - 2012 period Platinum A' Packaging DesignAward Winner.

 
 
 
 

Interview with Woongjin Food Design Team at Saturday 21st of April 2012: FS: What is the main principle, idea and inspiration behind your design? WD : ‘Deudeunhan Kong’ has been designed to let the natural taste of beans be felt at the package by giving the impression of the look of bean pods minimally. .. FS: What has been your main focus in designing this work? Especially what did you want to achieve? WD : Shedding the stuffy image coming from the material composed of grains, the design was focused on minimalism and modern sensibility, including the honest manufacturing and the quality consumers can trust. .. FS: What are your future plans for this award winning design? WD : Currently, besides the plain taste, the development of black soybean flavor, which is the unique taste of ‘Deudeunhan Kong’, is now in progress. ..