Welcome to an exclusive interview with the winner of the prestigious Architectural Design of the Year award at the LIV Hospitality Design Awards 2022. PURE Design Studio Vietnam is known for its innovative and contemporary approach to hospitality design, and its award-winning project has set a new benchmark in the industry. In this interview, we will delve into their design philosophy, and creative process, and learn about the inspiration behind their winning project. Join us as we explore the world of PURE Design Studio and gain insight into what makes them one of the most sought-after firms in the industry.

Could you tell us a bit about yourself and your professional journey? How did the design come to have such an important role in your life?

As a passionate designer and entrepreneur, I was always driven by new design and architecture. Especially growing up in a family that had roots in the hospitality development industry in Vietnam, allowed me to embark on a life-changing journey 15 years ago when I decided to move to Vietnam to explore new opportunities and challenges.

Upon arriving in Vietnam, I quickly realized the immense potential of the country’s rapidly developing construction industry. I saw an opportunity to create special and unique projects and decided to start my architecture and development company. With the help of my brother Thomas Lennaerts, who shared my passion for design and business, we set up PURE Design Studio and began to build a team of skilled architects, engineers, and designers.

Over the years, our company has grown and evolved, taking on increasingly complex and ambitious projects. We have designed high-end resorts and hotels as well as large-scale residential developments.

Our company has become a respected and sought-after architecture firm in Vietnam, known for its innovative designs, attention to detail, and commitment to excellence. 

Reflecting on my journey, I am proud of what we have accomplished over the years and grateful for the support and dedication of our team. I believe that Vietnam’s vibrant and dynamic culture has played a key role in shaping the company’s success, and I remain committed to contributing to the country’s continued growth and development.

Looking to the future, I am excited to continue pushing the boundaries of architecture and design, exploring new approaches, and creating projects that inspire and delight people around the world.

Is there a philosophy, a vision, or a special process that influences how you approach design? Would you say that you apply it to your life as well?

My design philosophy is deeply rooted in the idea of creating meaningful and sustainable spaces that enhance the human experience. I believe that architecture should be more than just a functional structure; it should be a space that tells a story and connects people to their surroundings.

One of the key elements of our approach is the integration of nature and the environment into the projects. I believe that buildings should be designed with a deep respect for the natural world, and that architecture should work in harmony with its surroundings. This approach is especially evident in our AVANA resort project, which incorporates green spaces, natural light, and natural materials.

We work closely with our clients and with our team of architects and designers, to ensure that everyone’s vision is represented in the final product.

We often draw inspiration from local culture, history, and traditions, and incorporate these elements into our designs, in a way that honors the past while looking to the future, which also applies to my life philosophy.

How did you incorporate key elements of ethnic identities, specifically those of the local Hmong tribes, into your design?

The Hmong tribes have a deep connection to their environment, and their architecture often reflects this. To create a sustainable, environmentally friendly building that reflects the local culture, local materials are used, such as wood, stone, and palm thatch roofs.

Many Hmong traditions are steeped in symbolism and meaning. Incorporating these elements into the design of a building added a layer of cultural significance and depth. For example, traditional motifs or patterns have been incorporated into the interior design of the building, and the use of specific colors can represent different aspects of the Hmong culture. We also designed the layout of AVANA Retreat to be similar to that of typical tribal villages, where stilted houses are spread across the site surrounding a main community center building—in this case, the main restaurant.

Sustainability is an important aspect of Hmong culture, and incorporating sustainable design principles into the architecture helps to preserve the environment and maintain the connection to nature that is central to the Hmong way of life. Meticulously hand-built earth walls reproduce the look and feel of Hmong houses. The earth wall helps the villa stay cool in the summer and warm in the winter.

In your opinion, how important is it to incorporate traditional and environmentally friendly architectural styles into modern designs?

Incorporating traditional and environmentally friendly architectural styles into modern designs is increasingly important as we face environmental challenges and a loss of cultural heritage. 

Traditional and environment-friendly architectural styles often prioritize the use of local materials, passive solar design, and other sustainable practices. By incorporating these elements into modern designs, we can create buildings that are more environmentally friendly, reduce energy consumption, and minimize waste.

Traditional architectural styles are often reflective of the local culture and history of a region. By applying these elements to modern designs, we can help preserve and celebrate cultural heritage, which is important for maintaining a sense of identity and connection to the past.

These styles often have a unique and timeless beauty that can enhance the overall aesthetics of modern designs. Incorporating traditional elements such as ornamental details, natural materials, and cultural symbols can add a layer of meaning and interest to the design.

In this project, more than 5000 trees have been replanted, to not only balance the impact of the building work but also reduce the carbon footprint of future operations and make the project blend into nature even more. 

What did you find most challenging while working on the project and what did you enjoy the most?

One of the most significant challenges we may have faced during the design process was the steep topography of the project site and the integration of the natural and cultural elements of the region into the resort. Finding a solution that satisfies everyone’s needs while ensuring that the design is functional, sustainable, and aesthetically pleasing was a complex and challenging task.

We also faced the challenge of designing a resort that stands out in a crowded market. The hospitality industry is highly competitive in terms of design, and many resorts around the world offer unique experiences and services. Creating a design that captures the imagination of potential guests and distinguishes itself from competitors can be a daunting task.

Despite these challenges, we found designing the resort to be a rewarding and exciting experience. The project allowed us to apply our design philosophy, explore innovative design concepts, and create an unforgettable experience for guests. 

Designing the resort has provided me with an opportunity to immerse myself in a new culture, explore new materials, and learn from local traditions and architectural styles. I have also enjoyed the creative freedom that comes with designing a resort, where I could explore new ideas and push the boundaries of what is possible in architecture, like with the special pool design, where we used the homogenous shapes of the rice fields as inspiration and implemented these on the pool shapes to seamlessly blend into the landscape. 

What does winning the LIV Awards mean to you in terms of validation and recognition of your work in the architecture industry?

Winning the LIV Awards is a significant achievement for PURE Design Studio. It is a validation of our talent, hard work, and dedication to creating exceptional designs that inspire and evoke emotions. The recognition from the LIV Awards is an acknowledgment of the impact our work has on the architecture industry and the communities it serves.

For us, winning the LIV Awards means that our work has been recognized by a prestigious organization in the architecture industry. It is a testament to our expertise and ability to deliver innovative and high-quality designs that meet the needs of our clients and communities.

Moreover, winning the LIV Awards can help us build up our reputation and credibility as a design firm. It can open up new opportunities, attract new clients, and help us gain more exposure in the architecture industry. It also boosts our confidence, inspires us to continue to innovate, and pushes boundaries in our work.

Are you currently working on something new that you can tell us about? 

We are currently working on a large-scale residential development in central Vietnam with 288 villas and an integrated resort/rental concept for second-home buyers. On this project, we are now facing the challenge of ensuring that the design is functional, sustainable, and aesthetically pleasing but also feasible for our client. 

In the future, would you like to repurpose the idea behind this project? 

Generally yes, as sustainable design, which blends nicely into the given landscape, is our main goal for each project, but we certainly need to consider the goals and wishes of our clients, who might have other ideas in mind for their projects. Therefore, each project will have a unique design approach depending on the location and cultural elements of each region while still implementing our design philosophy. 

What advice would you offer to aspiring architects or designers who dream of establishing themselves in the industry?

Be creative, the architecture and design industry values creativity and innovation. Think outside the box and come up with unique ideas that differentiate you from others.

Stay up to date with the latest trends and techniques in the industry. Follow industry publications and keep learning to stay relevant.

Develop a strong portfolio, your portfolio is the showcase of your work. It should demonstrate your design style, showcase your best projects, and be tailored to your target audience.

Be passionate about design and don’t expect it to be easy, as architecture and design are challenging and often stressful professions that require commitment, hard work, and dedication. If you can do that and love what you do, it will show in your work, and you can be successful in this field.

Photo credit: Avana Retreat – more information.

In this interview, we had the pleasure of speaking with Hyojung Cha, the Emerging Interior Designer of the Year at the LIV Hospitality Design Awards 2022. Hyojung shares her journey to becoming an interior designer and her design philosophy, which centers around understanding and meeting the needs of the user. She also discusses her award-winning project, the Mad for Garlic restaurant in South Korea, which combines Italian and Korean cultures through the use of garlic as the main ingredient.

Could you tell us a bit about yourself and your professional journey? How did design come to have such an important role in your life?

My space study started nine years ago when I went to college. Before I attended it, honestly, I had yet to learn interior architecture design. However, I realized that imagining a space is fantastic, and I feel happy when I do it. At that time, I noticed that everything surrounding us was three-dimensional and started looking at something from various angles. Time passed, and I got into interior design and decided to be an interior designer.

Is there a philosophy, a vision, or a special process that influences how you approach design? Would you say that you apply it to your life as well?

The most exciting part of the interior is that interior designers must consider specific user groups and make a space for them, because spaces are close to our lives. For this reason, we should understand and read users’ sensory aspects: what they need, why they need this space, when they need to use it, and how they will use it. Meanwhile, my design concept should be expressed in it. I think these are the differences between an artist and an interior designer. I believe interior designers should be thoughtful and have to catch other people’s minds.

How did you think of the concept for the design?

As I mentioned, I am always inspired by my user group. The fusion restaurant Mad for Garlic focused on the main ingredient in this project: garlic. Based on my research, Mad for Garlic is highly proud of its garlic dishes. And I have also tried to promote them through fusion restaurants between South Korea and Italy using garlic, Korea’s traditional main ingredient. For this reason, I also tried to think of ways I could represent garlic visually to send customers Mad for Garlic messages.

What did you learn from the fusion of South Korean and Italian cultures? Is fusion a concept that you wish to continue working on in the future?

I learned that there is no boundary between countries. I realized that space, where people gather and eat, makes them unified. Even though Korean and Italian people have different backgrounds, we can share our opinions and build a relationship based on dishes that will create something powerful. This point is similar to interior design. I hope to continue working on the concept of fusion. The meaning of fusion can be interpreted as getting along with people who have diverse backgrounds. That is why I am now living in New York City and figuring out how spaces make people mingle.

What did you find most challenging while working on the project and what did you enjoy the most?

I constantly challenge myself and try to keep a balance between my thoughts and the user group’s thoughts. Sometimes while drawing, I create a space that is impossible to build in reality. In other words, it would be a different creative idea if I handled it. This type of process always encourages me to do interior design.

Is there a dream project you would like to see coming to life, or a dream team you’d like to work with?

In South Korea, we have a few education issues to improve our identity and creativity for children. From an interior designer’s perspective, creativity is a crucial element in living our lives. Thus, I want to try an educational space where children can think about themselves while staying here.

Could you share with us which designer you take the most inspiration from and how their work influences your own creative process?

I am a big fan of Frank Lloyd Wright. I find his architectural designs very simple but powerful. Whenever I appreciate his work, I feel he considered his client’s life type and interpreted it from his perspective.

What does winning the LIV Awards mean to you in terms of validation and recognition of your work in the interior design industry?

I am very honored to be the Emerging Interior Designer of the Year. Because I am still a student who is studying what space is. Therefore, “Emerging” is very powerful and meaningful to me.

What can we wish for you in the future?

I wish that the LIV Awards continued to look at other new rising interior designs. And also, I hope you guys keep introducing how they think of this idea and why they think it will develop not only the interior design industry but also our lives.

VIEW PROJECT. 

Tony Wu, the Emerging Architect of the Year at the LIV Hospitality Awards 2022, is a talented designer who is passionate about creating spaces that promote healthy communities. In this interview, we learn more about his journey and the philosophy that inspires his work. He also shares insights into the design process behind his award-winning project, Green Booster, and how it has helped him in his current position at Gensler.

Could you tell us a bit about yourself and your professional journey? How did design come to have such an important role in your life?

My name is Tony Wu, and I’m currently working as a designer at Gensler Houston. As a professional, I am eager to learn new things every day. Variety feeds my passion as I encounter the ups and downs of everyday projects. Design is my focus, and passion fuels my desire to create.

Is there a philosophy, a vision, or a special process that influences how you approach design? Would you say that you apply it to your life as well?

My philosophy is based on the belief that architecture or interior design can promote social interaction. It is a friend, mentor, or even family to us. Every design opportunity brings space alive and promotes healthy communities, whether in home life, education, or business settings.

How did you come up with the concept for the project?

The idea for this project originated when I was a TA for the capstone at SCAD. One of my students said he wanted to use the space to remind people that their way of thinking was not correct. My own mind exploded with the thought. I began to think of designing a space that would guide people toward forming healthy lifestyle habits. In other words, everything you do in this building will foster a new, healthier version of yourself.

What did you learn from designing Green Booster, which is currently helping you in your new position?

As for skills, my Rhino/Grasshopper skills are getting much better. Design has opened up my vision and changed my perspective. I have found that researching how a building can interact with people has opened the door to myriad possibilities. The possibility is now at the forefront of my future design projects.

What did you find most challenging while working on the project and what did you enjoy the most?

The most challenging part of this project was proving that interior design and architecture can create a healthy bubble, one that would motivate people to work harder on their goals. The most enjoyable part was teaming up with Wendy and Yue, both great designers and a pleasure to work with.

Is there a dream project you would like to see coming to life, or a dream team you’d like to work with?

I would love to design a project in real life that uses my concept of people interacting with buildings. Working with Gensler currently fulfills one part of that dream of working with a team that shares my life goals.

Could you share with us which designer you take the most inspiration from and how their work influences your own creative process?

My favorite designer is Zaha Hadid. She widened the perspective of all of us in design. Her projects are wildly innovative and yet comfortable, a feat very hard to achieve.

What does winning the LIV Awards mean to you in terms of validation and recognition of your work?

Receiving recognition from LIV is unbelievable. I am honored and truly grateful. I feel called to achieve more creative designs in my future work.

Are you currently working on something new that you can tell us about? 

I am not free to talk about my Gensler project. I am trying very hard to know all the codes, as well as the details, to foster my knowledge about architecture and interior design. I want to be a competent and creative designer who can plan, model, render, and most of all, learn how everything works toward achieving the final product.

In the future, would you like to repurpose the idea behind this project? 

I hope to have such an opportunity, but am willing to work at the present one and let the future unfold.

VIEW PROJECT. 

We talked to Sarah Choudhary, the Emerging Interior Designer of the Year at the LIV Hospitality Design Awards 2022 for her work on Hotel Cirque, a boutique hotel inspired by Cirque du Soleil. Sarah shared her design philosophy, her inspiration behind the project, and the challenges and joys of working on it. She also discussed how winning the LIV Award has impacted her and her plans for the future.

Could you tell us a bit about yourself and your professional journey? How did design come to have such an important role in your life?

A significant aspect of my identity has been shaped by my upbringing, which was heavily influenced by the world of art and design. My father is an architect, and my mother a fashion designer – and as a result, I spent a considerable amount of time immersed in the world of construction sites and fashion shows.

This dual exposure sparked my interest, and I decided to pursue my studies in both. I studied fashion in a foundation school and went on to study architecture in my undergraduate years. As my education progressed, I realized that interior design was the perfect amalgamation of both fields, allowing me to combine my passion for fashion and architecture into a single profession. Hence, I pursued a career in interior design, which seemed like a natural choice.

Is there a philosophy, a vision, or a special process that influences how you approach design? Would you say that you apply it to your life as well?

My design approach revolves around crafting a spatial narrative that draws in the occupants and leads them through a story conveyed by the design. I strive to meticulously curate all aspects of the space, ensuring that every detail works in harmony to convey the overall narrative, while also meeting the practical requirements of the space. This balance between storytelling and human function is a core idea that I strive for in every project.

Why did you choose Cirque du Soleil as an inspiration for the project?

I selected Cirque du Soleil as the inspiration for my project, because of their bold and innovative approach to celebrating the diversity of human expression through their immersive performances. I was particularly drawn to their emphasis on creating unique experiences that are distinct from one another, as it aligned with my vision of a boutique hotel that would offer guests a truly personalized experience. Drawing from Cirque du Soleil’s commitment to creativity and imagination, I infused my project with a sense of adventure and wonder that I believe will resonate deeply with guests and leave a lasting impression.

What did you learn from designing Hotel Cirque, which is currently helping you in your new position?

Cirque du Soleil has such a distinctive identity that I had to push myself outside my comfort zone. To capture the expressive spirit at the heart of Cirque, I explored the use of vibrant hues to create a series of immersive spaces. This experiment in using color to create a narrative, and the visceral impact that different hues can have on the experience of a space, greatly helped my design process.

What did you find most challenging while working on the project and what did you enjoy the most?

The desire to embrace the colorful eccentricities of Cirque and experiment with bold forms and colors is what I enjoyed most during the design process. It led me to treat each space with a vibrant palette and celebrate the confluence of colors and forms. However, balancing this vibrancy while designing a cohesive space with a clear narrative pushed me to my creative limits. I had to rework and redesign the spaces multiple times, as I strove to create a balance between the individual elements and the whole design.

Could you share with us which designer you take the most inspiration from and how their work influences your own creative process?

One of the designers I took inspiration from is Sabyasachi Mukherjee. What I find particularly inspiring about Sabyasachi’s work is his use of bold colors and luxurious textiles to create a sense of opulence and grandeur, while his attention to detail and craftsmanship ensures that each piece is of the highest quality. I believe that a good design should engage all the senses, and Sabyasachi’s work is a testament to this belief.

Another aspect of Sabyasachi’s work that I admire is his ability to create a sense of timelessness. His designs have a classic elegance that transcends trends, and I strive to create interiors that have the same enduring quality.

What does winning the LIV Award mean to you in terms of validation and recognition of your work in the interior design industry?

Winning the LIV Award has given me a sense of pride in my design skillset and confirmed my commitment to excellence in everything I do. Receiving this prestigious award has given me a tremendous confidence boost, inspiring me to continue pushing the boundaries of interior design and exploring new ideas in my future projects. I am excited to see where this achievement will take me in the future and look forward to continuing to create beautiful, innovative designs that inspire and delight.

In the future, would you like to repurpose the idea behind this project?

As a designer, I am constantly exploring new ideas and approaches, and I believe in adapting my design concepts to the needs of the project. Therefore, depending on the context and the project’s requirements, repurposing the idea behind this project is something that I am open to.

VIEW PROJECT.

Patina hotel in the Maldives is designed to provide guests with an immersive experience of nature while still encouraging social interactions. The architecture is respectful of the surroundings, and the buildings are visually permeable, creating a dreamy atmosphere that celebrates life and nature. The hotel is designed to provide a kaleidoscope of atmospheres, starting from private spaces to public areas, from isolation to belonging, from simplicity to sophistication. The textures and emotions gradually increase from soft shadows to overwhelming light, creating a rhythm of contrast, pauses, and transparencies.

7. SOORI Bali by SCDA

Lead Designer: Soo Chan

This hotel in Bali is designed with sustainability and environmental consciousness in mind. The architecture is responsive to the local climate and community, with a minimal built footprint and minimal environmental impact. The villas are characterized by the interplay of materials, which flow seamlessly from interior to exterior spaces. The smooth terrazzo walls and floors are combined with handbrushed natural timber screens, soft silk upholstery, and custom-designed dark-stained timber furniture, creating a serene internal space. The use of timber flows into the external spaces, where timber screens wrap a private bale overlooking a private plunge pool lined with Sukabumi stone. The hotel design embraces the nostalgia of mid-century tropical design and combines it with a minimalist aesthetic, creating a retro-chic look.

8. SEEN Beach Club Samui by SOHO Hospitality, Thailand

Discover the Winners of the LIV Hospitality Design Awards 3rd Edition: Honoring Exceptional Architectural Ventures and Interior Design Projects Shaping the Future of the Global Hospitality Industry.

Zurich, Switzerland – The LIV Hospitality Design Awards has announced the winners of its highly anticipated third edition recognizing exceptional architectural ventures and interior design projects that are shaping the worldwide hospitality industry today.

The program, which is an inclusive platform for exceptional projects within living and eating spaces, received over 450 professional and student applications from 53 countries. The submissions were evaluated by a panel of 41 experienced architects, designers, and developers in hospitality, who went through a multi-round voting process to select the winners in each category.

The LIV Awards celebrates the quality and diversity of projects from co-living spaces, boutique hotels, and beach resorts, to fine dining restaurants, lounges, and pop-up bars. Each project was evaluated on its own merit, rewarding the most striking designs and properties that stood out with new concepts, uniqueness, and design stories.

“Celebrating the best in hospitality design is more than just acknowledging outstanding work – it’s about inspiring and empowering designers to push the boundaries of creativity, sustainability, and innovation. At LIV Hospitality Design Awards, we strive to foster a global community of forward-thinking designers who are committed to shaping the future of hospitality design. With a record number of applications in the third edition, we are proud to be at the forefront of this exciting and dynamic industry, recognizing the designs that elevate the guest experience,” said Astrid Hébert, Founder.

The range of work was astounding with honorees in Architecture including Olson Kundig for the design for Comedor, a modern Mexican restaurant in downtown Austin, Pure Design Studio for Avana Retreat set on a mountainside in northern Vietnam, emerging young talent from Savannah College of Art and Design, Tony Wu for Green Booster and Mansoor Al Harbi from American University of Dubai for Areesh Retreat.

In terms of interior design, the program awarded Ukranian design studio Yod Group for Terra Restaurant capturing the essence of Western Ukraine’s natural beauty and cultural richness, Not a Number Architects for MonAsty Autograph Collection drawing inspiration from the byzantine heritage of Thessaloniki, emerging interior designer Hyojung Cha from Pratt Institute for Mad For Garlic and Sarah Choudhary from New York School of Interior Design for Hotel Cirque in Montreal.

The third edition of the LIV Awards saw an array of distinguished honorees, including Kerry Hill Architect for Anantara Chiang Mai, Wilmotte & Associés for Maybourne Riviera, NELSON Worldwide for W Philadelphia Hotel, Faci Leboreiro for Green Grass Masaryk, Stickman Tribe for Ambros – The Ritz Carlton Amman, YANG & Associates Group for Qinhuangdao Marriott Resort, Emily W Design for Bussey Rooftop Bar, Yodezeen architects for Native House, and many more. For a complete list of winners, please visit livawards.com.

The LIV Hospitality Design Awards are delighted to announce that the winners of the 2020 – 2021 and 2022 awards will be honored at an exclusive ceremony to be held at the Four Seasons Gresham Palace in Budapest, Hungary, on the 14th of April 2023.

The Four Seasons Gresham Palace, located in the heart of Budapest, is a magnificent example of Art Nouveau architecture and a true testament to the city’s rich cultural heritage. Built in 1906, the palace has played an important role in the city’s history, serving as a symbol of Hungary’s prosperity and modernization during the early 20th century. The palace’s unique blend of Hungarian and European elements, along with its rich cultural heritage, makes it an ideal setting for the LIV Awards ceremony, which recognizes excellence in the hospitality design industry.

The ceremony will be an occasion to celebrate the achievements of the winners, as well as to network with industry peers and press representatives. The ceremony will feature presentations of the “Design of the Year” winning projects, followed by a cocktail reception, providing an opportunity for attendees to meet the winners, jury members, press representatives, and the organizing team, network and build new professional connections.

In addition, the ceremony serves as a valuable PR opportunity for all participants. The LIV Awards have a reputation for recognizing the industry’s most innovative and talented designers, and being recognized as a winner or finalist can be a significant boost for any design firm or individual.

Zurich, Switzerland – The LIV Hospitality Design Awards is pleased to announce the judging panel of the third edition of the program, celebrating Hospitality Architecture and Design Excellence. The selection of winners and honorable mentions of the award is entrusted to an impressively diverse jury panel of 42 top hospitality design experts from 23 countries.

Jurors include Najee Syriani, Corporate Vice President – Projects at Rotana Hotels; Melissa Messmer, Global Head of Design for InterContinental and Regent Hotels; Antonio Sancho the Business Development Director, Design & Technical EMEA at Radisson Hotel Group, Eelco Böhtlingk, Senior Director, Food & Beverage Development, Americas at Hilton Worldwide, Tina Norden, Partner at Conran and Partners; Bittor Sanchez Monasterio, Global Vice President Design Economy & Midscale Brands at Accor remain part of the jury along with Eric Leong, Vice President – Design & Technical Services at Minor Hotels and Karen Comber, Director of Interior Design at PIF projects – Luxury Hospitality.

Joining the panel for the LIV Awards 2022, Monika Moser, Chief Operating Officer of Campbell House; Luis Galofre, Director of F&B Design & Development for the Caribbean and Latin America region and Marc Ledesma, the Director of F&B Design & Development MEA both working for Marriott International; Ivo Christow, Head of Design, Member of the Management Board at Krucker Partner AG in Switzerland and many more. All members of the grand jury panel can be viewed at livawards.com/jury.

“The 2022 jury was selected with sustainability and innovation in mind, and each member is considered a visionary in their respective field. We are proud to have such an outstanding jury for our 2022 International Design edition,” said Astrid Hébert, founder of the LIV Awards.

The professionals and emerging talents “Architectural Design of the Year” and the “Interior Design of the Year” winners receive the coveted LIV Awards Trophy; their projects are presented to the worldwide audience and published in the annual catalogue.

Registration for the LIV Design Awards is currently open to students and professionals in the fields of hospitality architecture, interior design and guest experience. Submissions will be accepted until January 31st, 2023. For more information, visit livawards.com.

We sat down with Ivo Christow, Head of Design at Krucker Partner AG and a member of the Management Board; an Interior Architecture Firm that specializes in Hotel and Gastronomy design, to talk about the challenges of a career in the hospitality industry, influences, and passions.

Could you tell us a little about your professional journey? Where are you from and when did you discover that you wanted to work in design?

I grew up in a Housing Estate in East Germany. As children, we didn’t have much to play with, so we were forced to be creative. My favourite thing to do was to build small huts in the forest with my friends, which we then furnished in our own way. Maybe this was the starting point of my professional career. I was already an art lover as a child and loved to paint, but I only came to design much later. 

When I moved with my family from Leipzig to Munich in 1986, I got to know a completely new world, full of compulsive consumerism and pressure to perform. A world in which you had to learn to assert yourself and prove yourself, or you were left behind. As a teenager, I always dreamed of having my own cool bar and later running a small hotel – to be honest, I still dream of that today. But instead of going to hotel management school, I preferred to study interior design. After graduating, I realized relatively quickly that classic interior design wasn’t enough for me, everything was far too stiff and too oriented toward standards. So I decided to start a second-degree course, which took me to Switzerland in 2003, to Zurich to be precise, because there was a completely new course on offer.

Scenography is a mixture of architecture, interior design, and stage design. It was a kind of fusion of different disciplines, dealing with staging in urban, theatrical, and museum spaces. I was then lucky enough to be able to work in one of the most renowned scenography offices directly after my studies and gain valuable experience. After spending a few years there, I embarked on the path of self-employment, alongside various other stations. In 2018, I received an offer from Krucker Partner to take on a leading role in design and operations, which I gratefully accepted. I’m back in interior design and even if I don’t own a bar or hotel, at least I get to furnish them. The only difference is that I now incorporate scenography and storytelling into interior design.

Miss Miu, Zug, Switzerland. LIV Award Winner in Interior Design – Restaurant Theme

What is your main priority when starting projects? Is there something that is fundamental to your practice- your philosophy and your process?

This varies greatly from project to project and especially from client to client. I think the most important thing is to understand the clients and exceed their needs or expectations. Many of my clients have understood the importance of offering the guest an experience, and that includes interior design. Instagramability has long become a “must” and one of the best and cheapest ways to advertise. What started with food bloggers continues today in interior design. A well-staged location has become as important today. This works best with storytelling.

When I start a project and have captured ideas and needs from the client, I start writing a story. This can be completely fictional or have references to the location or people. I write a kind of scripts like a film, where 3 factors play an important role: place, time and person. The place describes where I am, for example in which country, which city, at someone’s home, or in a factory. The time tells me when the whole thing took place, so it is current, 20 years ago or a whole century ago. This all has an influence on the design of the space. The third factor is the person, to give the room the necessary personality. The more precisely and excitingly such a script is written, the more suitable it is as a basis for the design of the space.

Nooch, Westside, Bern, Switzerland.

If you had to choose just one of your projects at Krucker Partner, which project would it be and why?

Always the next one. Because honestly, when a project is finished, no matter how great it turned out and how much praise you get, I always only see the little mistakes and what you could have done better. And so for every project, I make a resolution to myself, “You’ll do better next time”.  However, I am very satisfied with the projects and I don’t want to single out one that is particularly important to me or that I particularly like, because, in the end, each project stands on its own. Each had different conditions and different challenges and above all, a different budget.

Nooch, Westside, Bern, Switzerland.

Nooch, Westside, Bern, Switzerland.

What do you feel is the most challenging part of working in Hospitality Design today?

Hospitality design is a wonderful field, more versatile than almost any other field in interior design. And the challenges are just as varied. We live in difficult times. Corona, War and Climate change have not been and are not exactly conducive to the hospitality industry. In the current situation, we are faced with many challenges. Be it delivery times or rising prices, the most important thing is to be proactive and remain flexible. We certainly have to learn to rethink our methods in many areas.

Which interior designer most influences your work or your work habits?

My attitude is never to be influenced by anyone else and, to be honest, I don’t know that many interior designers. I have always gone my own way. You are influenced by so many people and experiences throughout your life, which makes you who you are and I am quite happy the way I am. On my path through life, I have met many exciting people, both professionally and privately, who have shaped and influenced me.

The Butcher, Dietlikon, Switzerland.

Last, what are your passions outside of the design world?

Basically, I am interested in many things, but my professional life has had a big influence on my private life. I love to travel and try out as many hotels and restaurants as possible. This has even developed into a real tic. It can happen that I stay in 5-6 different hotels on a seven-day trip, but my greatest passion in life is certainly my wife.

Mrs. Mao Hua is a professional designer with an international vision driven by modernistic design concepts. Combining artistic flexibility and life inspirations, Mao strives to discover a new world of “perfect design”. Her design is characterized by theatrical and dramatic aesthetics, which brings fun and multi-facet experiences to the space, thus enriching one’s spirit with contemplation. We talked to the founder of EK Design and PP Design Gallery/Design Director of YuQiang & Partners Interior Architects Studio to learn more about her background and the inspiration behind her work.

Can you tell us a bit about your background? Where are you from?

I studied and worked in London for four years, during which I met many people from diverse backgrounds and experienced different cultures, which has inspired me a lot. Currently, my design practice is based in Shenzhen, a young, inclusive, and creative city that has incubated many design firms with a global vision.

Dongguan HappyLand Sales Office ©Ingallery

What is your main priority when starting projects?

My priority consideration is to satisfy the client’s needs. Every project has its advantages and disadvantages. When starting a project, my first step is to dig into the client’s background, lifestyle, and deepest needs. Besides, I try to figure out how to maximize the advantages of the space in the simplest way possible, which I think is the key to interior design.

Is there something that is fundamental to your practice, your philosophy and your process?

Interior Design needs to take into account the existing conditions of the architecture and its logical relationship with the outside surroundings. Based on this idea, I then shift to the interior — to figure out how to approach the space and how to express creativity and aesthetics. This is my fundamental design process and approach.
In my design practice, I tend to incorporate a “dramatic” aesthetic to interpret conflicts and contrasts, hoping every spatial scene I conceive will tell a story while presenting contrasts.

Can you tell us more about your new company, EK Design?

To approach more diversified project typologies and create some “different” designs, I established EK Design in 2021. At EK, we have more freedom to fully unleash imagination, and creativity, express different cultures in diversified ways and tend to express “conflicts” and “integration” in design.
Besides interior design, EK’s business scope also involves art, architectural design, product design, graphic design, brand planning, etc. A multidisciplinary team plays a key role at EK. Currently, we have involved architects in our team, and will further bring in landscape designers and product design professionals in the future. In this sense, EK Design has gone beyond interior design.

You also founded the PP Design Gallery in 2010. Can you please share more about this initiative?

The original intention of founding the PP Design Gallery was to support our interior decoration projects. Back then, there was a lack of quality international home furnishing products and relevant purchasing channels in the Chinese market. We hoped to apply more stylish and tasteful products to our projects, to create a more holistic interior decoration effect. This sparked our idea of “looking for good products,” so we established the PP Design Gallery.
It is the first design gallery in southern China that focuses on international modern designs. It’s more like a bridge that introduces creative design brands from around the world to the Chinese design community and the public.

If you had to choose only one project you have been involved in, which one would it be and why?

Recently, we completed an art-filled private penthouse in Zhejiang for a female client who adores fashion and a free lifestyle. She hopes her third residence will be an art space that combines multiple functions, such as a private vacation home, a place to receive and gather guests, and a venue for communication and entertainment.

Zhejiang Private Penthouse © Zhudi SHADØO PLAY

The project is a large single-floor apartment formed by removing the partitions of two existing ones. For this reason, the layout of the new place appeared somewhat rigid, fragmented, and scattered, which posed a challenge for the design. We arranged varied asymmetric and free forms in the space, to divert attention from the spatial structure. For instance, we applied deconstruction methods to add curves to the columns and walls, designed a structural spiral staircase to connect 1F and 2F, and created a large atrium in 2F to bring daylight in.

We recreated the spatial order by various techniques, such as superposition and reorganization. Throughout the project process, we also repeatedly adjusted our design based on balancing aesthetic intuition and model verification. In the end, we created an art-filled private vacation home that went beyond a specific theme and real life.

Zhejiang Private Penthouse © Zhudi SHADØO PLAY

Last, what are you working on at the moment, and do you have any upcoming projects or collaborations you can tell us about?

Currently, we are working on PUER LAB, a tea house located in C Future City, Futian, Shenzhen. In recent years, traditional Chinese culture has been fostering new consumption trends. As PUER LAB is a new type of hospitality project, we intend to adopt fresh forms and fashionable design languages to convey traditional Chinese teahouse culture. EK works on both brand positioning and spatial design for PUER LAB. We utilize traditional Chinese mortise-and-tenon joints to shape spatial structures and, in the meantime, deconstruct and reorganize various geometric forms. Those ingenious and flexible structures link the overall space and create a unique spatial experience. The interior adopts the typical red soil color of Xishuangbanna—the production area of PUER tea, as the main tone. Besides, we reinterpreted the cultural symbols of the famous ancient Chinese painting “Riverside Scene at Qingming Festival” and translated them into a decorative wall painting in the space to produce an aesthetic contrast between tradition and fashion.