Category Archives: WIN AWARDS 2013

Jonathan Speirs Scholarship Fund

Posted on December 12, 2013 by Megan

Inaugural Award of the Jonathan Speirs Scholarship Fund announced at the World Interiors News Awards, Saatchi Gallery, London by John Roake, Chairman of the Jonathan Speirs Scholarship Fund. The Trustees of the Jonathan Speirs Scholarship Fund are pleased to announce that  award has been made to Alex Stewart, a second year Masters student from the School of Architecture at Parsons, The New School for Design, New York. Alex was selected from a strong field of candidates drawn from schools of architecture in the UK and US.  A detailed selection process ultimately determined that the combination of Alex’s architectural skills, his passion for light and the strong recommendation received from his university made him the worthy winner of the £10,000 scholarship. The funding will be used to support his ongoing education and investigation into the relationship between light and architecture.

Chairman of the JSSF John Roake spoke on behalf of the Trustees of the Jonathan Speirs Scholarship Fund: “I am delighted to have made this first award. Whilst the selection process was tough thanks to the very strong field of candidates, it was a unanimous decision to make Alex the first JSSF Scholar.  His love of architecture and light was transparent from the outset but it was his enthusiasm, professionalism and warmth that reminded us so much of the individual at whose behest this scholarship has been set up”.

Alex Stewart commented: ”It is an honour to be selected as the Jonathan Speirs scholarship winner, and to be the inaugural year makes it even more special. I see myself as a steward for the award and Jonathan’s memory moving forward.  He sounded like a truly wonderful man. I only wish I had had the opportunity to meet him. However, his legacy most certainly lives on. Thank you for this distinction”.

John Roake concluded with a plea for ongoing support: “This award was only made possible because of the incredible generosity of a number of companies and individuals who came forward with donations. It is our stated intention that we will make a minimum of one award each year until 2023.  To that end we still need further financial help. We would therefore like to use this opportunity to appeal to companies, professional practices and individuals who both knew Jonathan or benefitted from his incredible insight into light and architecture to give generously going into the future”.

Details of the Jonathan Speirs Scholarship Fund, including ways to donate, are available at

Celebrating at Saatchi

Posted on December 10, 2013 by Megan

Ten days on from the inaugural World Interiors News Annual Awards ceremony and dinner the winning designers are still basking in the glory of their successes. London’s Saatchi Gallery played host to the most distinguished figures in architecture and interior design, treating the attendees to an opportunity to view the latest exhibition entitled “Body Language” which explores the physicalities of human beings through photography, sculpture and painting.

Escaping the cold November night outside, over 300 guests from across the globe retreated into the gallery’s warmth for a cocktail reception, a 3-course meal and some all-important networking opportunities. Amongst the many well-known faces was judge and interior design guru Sir Terence Conran, who has been a keen supporter of the awards programme.

As petit-fours and coffee were served, the awards ceremony began with a speech from Annalisa Hammond, Editor of World Interiors News, welcoming the guests and introducing Art historian and BBC Culture Show host Andrew Graham-Dixon who proceeded to present the awards for the winning designs.

Whilst the shortlisted entries from each category were announced and the winners collected their trophies on stage, guests from all areas of architecture and interior design were reminded of the designs which have helped shape the material and cultural landscape over the past year.

When the ceremony came to a close, the elated winners and shortlisted designers were photographed with their trophies and certificates, and the champagne flowed as celebrations began.

After overwhelmingly positive feedback about the event, Annalisa Hammond reflects that “the intimacy and originality of the venue appealed to our sponsors and guests, many of whom have already enquired about next year’s event!”

With the 2014 Awards due to open in early January, it promises to be another exciting year ahead for World Interiors News.

The London Distillery Company confirmed as sponsor of the World Interiors News Awards

Posted on November 5, 2013 by Rosie

We are delighted to announce that The London Distillery Company will be serving its first London-crafted gin at the WIN Awards Dinner at the Saatchi Gallery on the 28th November.

Developed at the new distillery in Battersea, London, Dodd’s Gin pays tribute to Ralph Dodd, an 18th century born entrepreneur and engineer, who formed The Intended London Distillery Company in 1807. Dodd’s business prospectus detailed his commitment to produce Genuine British Spirits and whilst he never quite fulfilled his visionary project, his aspirations are finally being realised over 200 years later by The London Distillery Company.

The small batch gin, created by Head Distiller Andrew MacLeod Smith and Founder Darren Rook, uses organic botanicals, which include: juniper, angelica, fresh lime peel, bay laurel, cardamom, red raspberry leaf and London honey.

A significant proportion of the ingredients are first distilled in ‘Christina’, a traditional 140-litre copper alembic, with the more delicate botanicals being reserved for ‘Little Albion’, The London Distillery Company’s state-of-the-art cold vacuum still. The two spirits are then married for several weeks before being hand-bottled and labelled by the team at the distillery.

Darren Rook comments: “We came across Ralph Dodd and his story whilst investigating former distilleries in London, almost a year to the day after founding The London Distillery Company. Dodd’s ethos about creating Genuine British Spirits was akin to ours, so we felt it fitting that our first London produced brand was dedicated to him.”

Andrew MacLeod Smith adds: “Any distiller will tell you that it takes many months of research and development to create an innovative, premium organic spirit, and Dodd’s was no different. For example, we distilled several types of honey, from all areas of the UK, but found that the complex honey produced by urban bees in London gave the spirit a luxurious mouth-feel and added a delightful top note, which complements the rest of the aromatics perfectly.”

Body Language at the Saatchi Gallery

Posted on August 14, 2013 by Megan

The Saatchi Gallery has revealed their November exhibition, Body Language will be gracing the galleries during the World Interiors News Annual Awards ceremony on 28 November 2013. Interior design professionals will gather amongst the refined splendour of the gallery, to celebrate the winning and shortlisted projects of the awards, and view the work of innovative artists.

Body Language will explore the physicalities of being human through painting, sculpture, photography and other vibrant visceral works. The artists exhibiting through the galleries 7, 8 and 9 include Dana Shutz, Jansson Stegner, Justin Matherly, Amy Bessone, Raffi Kalenderian, Tanyth Berkeley, Michael Cline, Francis Upritchard, Nicole Eisenman and Kasper Kovitz.

Dana Schutz, Singed Picnic (2008)

Throughout Body Language the body can appear in fragmentary segments such as the work of Justin Matherly, squashed flat, or not at all; it can turn up slumping to the floor or gnawed from a hunk of meat, for example Kasper Kovitz.

And when it does appear, it refuses to obey its usual roles as carrier of narrative (in Dana Schutz and Jansson Stegner’s ambiguous scenarios) or epitome of beauty (see Nicole Eisenman and Michael Cline’s grotesques, or Tanyth Berkeley’s restaging of the feminine image). These are figures, then, but not as traditionally understood.

As a uniquely shared property, the human body remains visual art’s best metaphor for an investigation into how it feels to be alive. Physical empathy pulls viewer and object closer together to articulate life’s condition, and to draw closer to others in the hope of mutual understanding of the human body.

Dana Shutz

Dana Shutz’s Reformers shows worried-looking figures clumsily constructing a figure on a table. Shutz presents narratives in her paintings that fail to fully cohere, like a storyteller suddenly realising he’s forgotten the ending in the midst of the telling. The paintings’ styles similarly leap towards and away from closure, flirting with the tics of the past – the skidding brushstrokes of post-war abstract painting, the dappled dabs of impressionism – while revisiting the narrative approach those movements sought to make redundant. Schutz’s stories overreach themselves: there are too many characters, too many props, too much immediate activity for the viewer to find comfortable purchase in the tale.

Dana Schutz , Reformers (2004)

Jansson Stegner

The female police officers in Jansson Stegner’s paintings pose in attitudes of languid melancholy. They lean or lie or crouch on rocks or against tree stumps, their eyes elsewhere, their uniforms the only urban element in otherwise windswept, emptied-out landscape settings. The uniforms strike a special note of strangeness in Stegner’s works: without them, we’d be in the realms of the Romantic portrait, these long-limbed girls embodiments of lost love, or the trials of youth, or innocence abandoned. The paintings’ clash of symbols – discipline and sensuality, law and abandon – gives them a hypnotic force that is both beguiling and disturbing.

Jansson Stegner, Great Plains (2007)

Justin Matherly 

Justin Matherly’s works operate in the gap between the actual and the imagined. Their component parts – glass reinforced concrete forms are set into equipment sourced from hospitals – evoke a contingent kind of truth, something not quite articulated, not quite complete. His works refer to the celebrated excavation of the classical sculptural group Laocoon and his Sons in Rome in 1506, unearthed largely intact but with the central figure’s right arm missing. A competition to create a replacement for the missing arm generated a number of speculative substitutes; Matherly’s sculptures evoke these acts of guesswork by employing materials redolent of instability. The concrete’s surface – pocked and lunar, apparently crumbling – implies uncertainty, the subject’s majestic association and bulging musculature rendered pathetic, even comic, by its reliance on the walkers.

Justin Matherly, As Long As Its Truth And Purity Remain (2011)

Amy Bessone

Bessone’s use of source material – Messien figurines, painted from images in auction catalogues or on web pages – epitomises her satirical investigation of the limits of aesthetic taste, as well as her interest in the uncanny animation of ordinary objects. Eunuch, presents a grotesquely pouting head, its title the epitome of a sexual threshold, seems pitched between tasteful style and lowbrow subject, dancing with merry abandon between the two.

Amy Bessone, Eunuch (2008)

Raffi Kalenderian 

Raffi Kalendarian’s paintings of his close friends and fellow artists employ a dense and graphic patterning that makes them oscillate between flatness and depth, as between an image and an object. Their attention to surface – the artist occasionally uses wax mixed into the paint – emphasises their hand-made qualities, connecting them to a tradition of artisanal craft or folk art. That focus on the physical act of making seems to draw their subjects ever closer, evoking an intimacy that is appropriate for images of flatmates (Highlanders) or former girlfriends (Rachel). Kalendarian’s interest in collapsing the distance between the figure and its ground locates each sitter as component in a particular memory from the artist’s own life: place and person are bound together, as they are in the mind.

Raffi Kalenderian, Highlanders (2008)

Tanyth Berkeley

Tanyth Berkeley’s work revisits the heightened artifice of the Renaissance portrait – hands and feet delicately displayed; flowers clasped to the breast; eyes locked on a distant spot beyond – to lend her images both a traditional gravitas and a playful bait-and-switch between the real and the fictive. The formats of her photographs (slender verticals for full-length figures, cropped rectangles for head-and-shoulder shots) emphasise the focus on individual autonomy: they possess the space absolutely. The frame is framed for them. Her subjects, people Berkeley met by chance on the street or subway and asked to pose as they wished, embody appeals to a transgressive form of beauty. Women, biological or transgendered, occupy pictorial spaces designed for their display as passive recipients of ogling eyes. 

Tanyth Berkeley, Grace in Window (2006)

Michael Cline

Cline uses the grotesque as a weapon of satirical intent. Throughout his work, scenes of contemporary societal breakdown are filtered through a memory of didactic imagery from Christian art. In Free Turn, a dramatically-foreshortened figure recalling Mantegna’s 1501 Dead Christ lies on a pavement, his head resting on a pillow in a cardboard box. Dressed as an old-time grocer in bow tie and apron, his apparent personal breakdown becomes an archetypal one, the writing scrawled on various surfaces harbingers of civic disarray. But Cline’s work swerves away from the monochrome morality of the satirical cartoon, insisting on staging an ambivalent curiosity that is the viewer’s own: notice the woman stooping down to look, in an attitude pitched between concern and indifference. 

Michael Cline, Free Turn (2008)

Francis Upritchard 

Francis Upritchard’s The Misanthrope gathers his tie-dyed robes and jangling necklaces and shuffles away from the world in performance of his name. His smallness is a kind of escape. Ornamental, he glides across an ornate side table, the garish pattern of his cloak at odds with his shrivelled physicality. Sculpture’s long engagement with the figure articulates a human need to immortalise its past, to make something solid of the transience of life. Upritchard’s figures, collaged out of modelling clay, wire, tinfoil and scraps of fabric, gather their uncanny power through a deliberate fragility of form, a brittleness.  

Francis Upritchard, The Misanthrope (2011)

Nicole Eisenman

In Nicole Eisenman’s paintings, art history returns like a hungover memory of the night before, bits of it coming back in unexpected snatches. In Beer Garden at Night, a contemporary parallel to Renoir’s images in turn-of-the-century Paris, the deep space of the painting is populated by figures out of the past, thrown together in a kind of boozy purgatory. Inebriation (many of the glasses are empty, or mostly so) becomes a pictorial premise: our eye performs a drunkard’s sway, ducking and swerving between the balls of hanging light, trying to find a vacant seat. The characters’ urge to touch each other – playing footsie under the table, or embracing in woozy joy – both generates the painting’s darting energy and articulates a theme in Eisenman’s work: the human body making sense of itself through touch.

Nicole Eisenman, Beer Garden at Night (2007)

Kasper Kovitz 

Kasper Kovitz, Carnalitos – Arana (2010)

The Spanish word carnalitos, meaning ‘close friends’ or ‘brothers’, shares a root with carne (meat), and that play on words finds a literal expression in Kasper Kovitz’s sculptures Carnalitos (Arana) and Carnalitos (Unamuno). Both sculptures are carved from legs of Iberian ham set into slabs of concrete; each seems to wobble and totter on its bony appendage, its whittled head emerging from the hunk of meat. Each is a portrait of a significant figure in the history of the Basque struggle for independence from Spain: Sabino Arana, the forefather of Basque nationalism (1865-1903), and Miguel de Unamuno (1864-1936), the more moderate poet and dramatist. Their opposing political standpoints seem reconciled in Kovitz’s use of the same material, with its distinctive purplish-red flesh and ochre shell of fat, and the implication of two legs marching forward in unison, two components of the same physical entity.

The World Interiors News Annual Awards ceremony tickets are now on sale on our website here, or contact us on for any further information on the ceremony.

The works will be on display at the Saatchi Gallery, King’s Road, London from 20 November. To read more on the Body Language exhibition, please go the the Saatchi Gallery site here

Information on the artists provided by Ben Street. All images courtesy of the Saatchi Gallery.


The Surface of Art…

Posted on June 12, 2013 by Megan

3D SURFACE panels are designed to realize decorative coatings that can create infinite surfaces, without interruption or joints. The Italian company, 3D SURFACE, launched the first collection designed under the artistic direction of Romano Zenoni, composed of 16 textures designed by Jacopo Cecchi, characterized by elements that once applied interact with each other reproducing unique effects. The collection, industrially produced, is varied with 16 different types of decorations. It is possible to choose products that reproduce authentically reality, such as Bamboo, Tenda, Desert, Capitonnè or abstract surfaces, contemporary result of imagination and contemporary artistic trends, like Caos and Millerighe. See 3D Surface’s entry into the World Interiors News Annual Award under the Interior Accessories category here.


3D SURFACE sculpture walls  represent a major innovation in wall coverings, launching an important trend in the world of contract and design. The versatility of use for any space, thanks to the development of two special ceramic materials designed for interior and for outdoor spaces (TRB, TRG),  allows the designer to create every kind of solution.


For installation, the product is simply pasted on the wall and once the joints are plastered surfaces become fluid and continuous. 3D walls are enhanced with light, creating light and shadow effects…and the covered surface  comes alive. 3D SURFACE, as well as proposing a collection of 16 different covering designs, is able to develop  textures on demand, so as to enable every designer to carve their own ideas on walls. 



Glittering bottles from Cumbria Crystal

Posted on March 15, 2013 by Sian

Cumbria Crystal, one of few remaining producers of hand-blown and hand-cut full lead English crystal, launched Bottles in January 2013, a chic collection of full lead cut crystal bottles produced by skilled craftsmen in the Lake District. Launched following the success of Cumbria Crystal’s Six Stemware and Six Gift collections, Bottles is a mix of 6 contemporary glass designs matched to make one unique collection. Cumbria Crystal will be vying for WIN’s Interior Accessories Award in this year’s extensive awards programme.

The intricate craftsmanship used means that to make a single piece, there are 6 individual processes, each step completed by a highly skilled craftsman/woman. From blowing to cutting, every step is done by hand, creating a glass of superb clarity and artisan finish. Designer Katy Holford explains her inspiration for the collection: “The bottles are a witty reworking of the kitsch chianti bottle candle holder. A nostalgic nod to the 70’s and 80’s when as students we glammed up a cheap meal with red wine and candles.”

The design proportions of bottle and candle are elegant and reworking it in luxury crystal turns a cliché into something sophisticated and refined. Cut crystal sometimes has fusty connotations. The aim of this collection is to give the medium a fresh contemporary approach that suits today’s interiors. It’s all about reinvention, turning an everyday bottle into something extraordinary and exquisite. Bottles, available from retailers Heals and Liberty, comes in 2 shapes, Bordeaux and Burgundy, in 6 different designs and each bottle includes an elegant hand-made pewter candle cup to prevent candle wax spoiling the sparkle of the crystal. Each Bottle is 31cm in height, 9cm in diameter and also serves as a wine carafe holding 750ml capacity.

Katy Holford who is reinventing cut crystal for 21st century living with contemporary and innovative designs has an impressive design background and is passionate about retaining traditional crafts skills within Britain, ensuring they are passed to future generations. The Company remains small and true to its artisan roots, employing 17 people at its factory in The Lake District where visitors can watch craftsmen/women producing crystal in the time honoured way.

Cumbria Crystal supplies all Commonwealth embassies with crystal to grace formal dinners, as well as supplying glasses for ITV’s Downton Abbey and hand crafting the light bulbs for international designer Lee Broom. Katy designs bespoke glassware for renowned retailers Harrods and Thomas Goode, as well as exclusive commissions for furniture designer and nephew to HRH Queen Elizabeth, David Linley.

Coastal living in the Australian bush

Posted on March 13, 2013 by Sian

Architecture Saville Isaacs Pty Ltd have submitted this light and airy rural residence to the WIN AWARDS Residential Interiors category, demonstrating a seamless contextual blend of architecture, interior design and muted decor.

This holiday home by Architecture Saville Isaacs Pty Ltd is flexible to accommodate extended family, robust for hoards of children, yet with an element of adult luxury. A casual home with strong relationships to outdoors, it takes advantage of orientation and bush setting with sunlight, privacy and diagonal views modulated by pivoting timber screens.

Flexibility extends to opportunities for multiple activities: covered outdoor rooms, open living/dining zone, enclosed rumpus. Internal spaces are delineated by a timber spine formed by the timber walkway and vertical post screen, continuing down the suspended stairs under the kitchen island and out.

Internal elements are extensions of the architecture. Joinery is used as space making elements (timber screen wall folds over as support for benchtop). There is a marked contrast of solid textures, white linear planes, rhythms of timber posts, smooth polished concrete, steel and glass against rough sawn wire-brushed timber create drama that animates the interiors.

Focus is on the tactile quality of materials: a consistent palette of polished concrete, waxed recycled wire-brushed tallowwood, textured white laminate joinery – selected for robustness, low maintenance and recyclability. Low VOC, non-toxic materials and finishes, hydronic floor heating and cross ventilation ensure a healthy indoor environment.

The integrated interior furnishing concept was to focus on a palette of natural materials and finishes, locally sourced, designed and made. These choices are environmentally responsible and the brief was responsive by blending into and creating an emotive response to the Australian bush.

This project demonstrates the possibility of achieving quality design using ecologically sustainable development (ESD) principles and sustainable, recycled, low-toxic, cost-effective materials. It focuses on the interrelationship with the surrounding environment, volumetric quality, light enhanced sculpted open spaces, and tactile quality of materials. The design promotes the unity of architecture and interiors, working with the elements of materiality, space, volume and light seeking to achieve a sense of peace and tranquillity.

Terence Conran to judge the WIN Awards 2013

Posted on February 26, 2013 by Megan

We are very excited to announce that once again design guru, writer and restrauteur Terence Conran will join the World Interiors News judging panel for this year’s award.

“I’m delighted to be judging the WIN awards again which really do promote and celebrate the very best in design from around the globe. If the quality is anything like last time, I’ll be green with envy looking at some of the world’s most beautiful homes.” Sir Terence Conran said.

Born in 1931, Terence Conran founded the Habitat chain of home furnishings stores in the 1960s that brought modern design within reach of the general population.

Today he is Chairman of the Conran Group which owns restaurants, shops and hotels around the world and has a thriving architecture and design practice Conran & Partners.

Terence has always been a great supporter of education in design and founded the Design Museum in London and until recently was the Provost of the Royal College of Art. He has written more than 50 informative books selling over 30 million copies of his publications worldwide.

The WIN Awards 2013 will showcase the best and most innovative interior design projects from around the world to our global audience of 220,000 designers, architects and developers. We will celebrate the award winning designs at a prestigious Awards Dinner at the Saatchi Gallery in London on 28 November2013.

Don’t miss the chance to get your work seen by this industry leader and enter the WIN Awards now! Entries made before 15 March will also get the added bonus of a 15% discount of the entry fee.

Just click here to enter.