Designing for Wellness with Newmor Wallcoverings

Wellness design creates spaces that combine form and function for positive mental and physical health. Newmor wallcoverings contribute to creating commercial environments which promote wellbeing through colour, pattern, and texture. Their wallcoverings are also low VOC and contribute to better indoor air quality, as well as enhancing the acoustics of the interior space.

Here are three projects that place wellbeing at their heart:

Platinum Mountain Hotel & Spa is a 5 star hotel and wellness centre in the magical alpine ski village of Szklarska Poręba in Poland. The interiors reflect the hotel’s wellness ethos – comfort, style, and connection to the world outside are beautifully reflected in the organic materials, biophilic design, and cosy accents.

The Folly bar and restaurant is a botanically inspired city haven located in the heart of London. The large-scale skeletal leaf pattern in neutral tones sits alongside a vast collection of plants. Raw wood furniture, stone flooring, sheepskin rugs, and garden-themed ephemera enhance this whimsical uplifting interior.

My Lounge is a laidback oasis located in London Gatwick Airport. The clever use of design scale, colours effects and tactile surfaces create a welcoming space, contrasting with the sterile airport environment. Separate formal and informal dining and seating options ensure visitors of all ages feel at home.

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With rising costs, is a “five-star” luxury space what residents want and need?

One of Just Imagine Interiors' favourite parts of designing a care home is the ability to design an exciting new cinema room for residents. As you will see not only is this a vibrant and fun space to be but its benefits are endless when it comes to bringing people together. This is where our design and creativity really flows, in order to achieve a fun space for residents to relax and enjoy the movie.

Why are cinema rooms so important in care homes, specifically dementia care homes? Who doesn’t love a feel-good movie? Being able to switch off from the outside world with a good movie, in a comfortable chair or preferably a recliner, cosy blanket and a bag of popcorn can revert a bad day into a good day. For residents living with dementia – something as simple as watching a comedy movie or a nostalgic film of the past can help ease stress and anxiety by being so immersed in the film it can be a form of escapism.

We start with the design and choice of funky furniture. We like to be more daring with our colour choices, using vibrancy to add to the fun! The installation of interesting lighting design wholly contributes to an authentic mood in the room. We like the design to be bold and nostalgic or simply a mixture of both! We try to create the full cinema experience in terms of design, look and feel including the smell of popcorn! When designing a home we obey our ethos of creating home from home interiors; the opposite of our design ethos applies in a cinema, as residents can enjoy the experience of stepping out and taking a visit to the Cinema.

Movies provide a great conversation starter, anticipation before the film begins, film enjoyment whilst it is been watched and an after the film review. What’s better than going to see a movie? It’s probably going to see a movie with a friend or loved one! Being able to share the experience of watching movies is a definite relationship booster. When visitors arrive, residents can enjoy taking the family ‘out’ to the cinema, a Birthday celebration or revel in a private film viewing for an everyday treat.

Movies can act like time capsules to a lost era, and the feeling of nostalgia is a powerful tool. Residents can watch old movies from their childhood to unlock memories that have long been buried over the decades. As nostalgia is a way of remembering, talking about and sharing the important events and memories of one’s life, watching nostalgic movies can help provide comfort and meaning to a person’s experiences, as can the cinema itself. This is why décor is so important to every experience that we create. As part of designing for care homes, it is important to accommodate for those living with dementia. We consider landmarks, as research shows that people living with dementia use landmarks as their way of navigation - signage with good contrast text and background, well-lit entrances and utilising natural light. Care and attention are given not only to the fabric and wallcoverings but often it is the accessories and finishing touches that complete the room. There is an emphasis on Artwork this could be old film reels, black and white movie star photos, signage and west end show prints. Well placed accessories such as a popcorn maker, drinks trolley or clapper boards make each room as realistic as possible. Each of these details generates a memory and completes the cinema experience.

Residents should always have a say in the movies being shown in their cinema. Popular films relate to those shown during a residents 30s and 40s, so age is a consideration of film choice. Staff need to know what is “meaningful” to each individual resident as they will have a wide range of viewing preferences depending on what they have done and what they like. Many residents love to sing along when they watch movies, so a good musical is always a winner! Providing residents with varied activities and social opportunities can improve their quality of life. Cinema rooms are installed with smart TVs in most instances so that residents can also access other entertainment online if they prefer. These options can be offered as an alternative or as well as watching movies. Galleries and museums offer virtual tours, which will appeal to the art lover. Whilst Google Earth lets you ‘travel’ all over the world. Simple online games can stimulate the mind, generate memories or help engage with grandchildren on a whole new level!

The cinemas we love to create are bespoke and tailored to the client needs. One of the main challenges when designing is the size of the room allocated. We can be limited to our choice if it’s a small area, but this just adds to the challenge. The seating layout is of a similar style to that of a commercial cinema, whilst where space allows, giving ample wheel chair access. Seats are arranged for maximum viewing. Comfort is key here as a standard film many be 1 1/2 long. Seating must be relaxed and fully support a resident through legs, back, arms and neck. Between each chair sits a table for ease of use and access to popcorn! To save any stressful spills, our specified carpets are impervious and so are the seats. It is difficult to assess the role of the environment in the transfer of infection, therefore our specified impervious finishes allow ease of cleaning and stronger infection control.

The TV screen size is vitally important! Too large or too small can cause a lack of visual clarity. Seating is always placed in proportion to the screen size. We can specify a number of screen options depending on the space. For example, in a more compact space a projector screen can work better. This screen is superior to a plain white wall, as the screen has a coating with reflective properties that help make the projection come out clear and will display every last detail of the projection.

Lighting or lack of lighting are carefully considered in each space. Firstly black out lining is standard on all cinema curtains as showings are mostly during the daylight hours. We need an element of darkness to create the nostalgic ambience, however, safety always comes first. With this in mind, the rooms have options of ambient lighting, task lighting and feature lighting all of which can be adjusted to suite the mood. In some instances the cinema room is used as a training room due to its ability to screen content and comfortably occupy a number of staff. This is where adaptable lighting becomes significant as natural light in addition to ambient light must be optimal.

Finally care is given to the sound quality in each cinema. Again, there are a number of options depending on the size of the room, number of occupants and occupant ability. Depending upon the venue, noise may significantly impact our experience, whether positively or negatively. Understanding the rooms’ acoustics and finding the right balance of sound absorption material, without compromising on our aesthetic is very important. A comfortable acoustic environment can improve well-being and motivation. Sounds are reflected off walls and surfaces in the room; sound coming directly from speakers is flat and even. The size of the room, wallcovering, curtain thickness and length, and items in the room will affect how the sound waves travel and overall quality of projection. Here we can assess location of speakers, add sound bars or, if it’s too much, sound proofing panelling can be installed to the walls. As it is well recognised that noise may be distressing for a person living with dementia it is important that exits are clear, visible and non-hazardous e.g. non slip/ trip.

So why have a luxury cinema in a care home? Having a social space where residents are able to relax, switch off from the outside world and unlock memories that have long been buried is extremely important to improving their quality of life and mental health.

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This week’s instalment of the Project of the Week series features a spacious hotel lobby design by 2021 SBID Awards Finalist, Bishop Design by Paul Bishop.

What was the client's brief? 

SLS Hotels are renowned for breaking stereotypical molds, in sophisticated fashion, and The Sky Lobby at our Dubai destination is no exception. The brief itself was to create a world of true luxury, something that would leave guests overwhelmed with awe.

What inspired the design of the project?

Our creative concept became inspired by the story of Midas, infused with the SLS spirit and excessive glamour of Dubai. This narrative translates through the design and artwork, which perfectly capture these sentiments in a subtle tongue-in-cheek way, enforcing unforgettable connections with guests.

What was the toughest hurdle your team overcame during the project?

Our toughest hurdle started when we inherited the project late on and the construction had already started off the back of the previous design. It was a race against time to redesign the whole project without compromising the construction programme. There was minimal guidance from operations in terms of brand or standard hotel requirements forcing us to create one.

What was your team’s highlight of the project?

Even with the restrictions of the build being carried out during covid, it is known that we have now set a new benchmark for all SLS hotels going forward. An undeniable highlight for us and testament to the standard of work that was carried out.

Why did you enter this project into the SBID Awards?

SBID Awards celebrate the best in design and it is events like this where validation surfaces in recognition that what we are doing is right and that our designs are of global standards.

Questions answered by Paul Bishop, Owner & Founder, Bishop Design by Paul Bishop.

When it comes to challenging the limits of what materials can do, Ledbury Studio is building something of a reputation. The latest design, the Camden Kitchen, is a textbook example of this, combining beautiful materials and artisanal techniques to stunning effect. Ledbury Studio founder Charlie Smallbone talks through how the Camden Kitchen was realised.

What was the project brief?

Our client has a strong sense of style, so was already full of ideas when she came to see us. I really like that because the design process should always be a collaborative one, and is personal to each client. In this case, the room was being extended into the garden beyond, and we were tasked with designing a relaxed and informal space for cooking and entertaining.

How did you design the furniture?

I had decided to use English and European oak throughout the kitchen, and we took particular care to select oak all from the same batch. The result is that the grain matches perfectly and can be seen to run across the width of all the drawers, it’s a really satisfying detail. And for the full-height cupboards, we introduced a design motif that completely belies the practical nature of the fridge, freezer and larder concealed behind.

What can you tell us about the worktops?

The show-stopping island top is a work of art by Lara Bohinc of Bohinc Studio. It’s a selection of Italian marbles, inlaid into an aged-brass edge trim, in a selection of shades that elegantly complement the muted colours throughout the rest of the kitchen. For the long runs of worktop, we specified Ambra quartz, for natural-looking veining in a hard-wearing manmade material.

How have you used pattern and texture in this kitchen?

We’ve employed our signature use of metal with patinated zinc panels on the cupboard to the left and on the extractor hood, where it’s trimmed with aged brass. There is an antiqued glass panel surrounding the extractor, which reflects light from the garden around the kitchen. And possibly my favourite detailing is the delicate fluted oak on the ends of the island, which is echoed in the fluted Ambra quartz splashback.

Any other design highlights?

As this was to be a room for entertaining, our client particularly requested a screen she could pull across to divide the dining area from the kitchen when required. I was inspired by a ‘70s design the client found in an antiques shop, to create this screen of brushed and polished stainless steel in a striking geometric pattern. It’s a great finishing touch to this beautifully eclectic kitchen.

Ledbury Studio kitchens start from £50,000.

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The latest trend palette from the new collection at Arteriors is all about creating contemporary yet sublimely serene interiors. The key to this elegant décor scheme is incorporating an unpredictable combination of cool toned hues such as pale blues, marbled pastels and lighter jewel tones, and combine with striking modern silhouettes. A smattering of organic materials and shapes throughout will tie the décor together and provide a grounding effect.

To bring this luxurious look into residential or hospitality projects, integrate raw stone marble accents, jewel colours, sumptuous velvets and other luxurious materials to fashion the perfect foundation. Opt for accent details in glamorous golden finishes and brass – these are the perfect finishing touches for a scheme that is luxurious while still remaining warm and inviting.

Lighting should be extravagant: consider frosted glass detailing combined with ornate, intricate elements in both chandelier designs and sconces, and pair together to create an ambient glow through the home.

Intricate use of glass across lighting and accessories is inspired by the fluidity and the sleek reflections across a shimmering body of water. A balance between soothing and striking is created by using lithe hand-blown glass - organic in form and never-quite-perfect meaning each product is unique in its individual detailing.

Arteriors has embraced the perfection of imperfection and is striving to create an assortment of product that inspires the calm and collected throughout the Modern Serenity collection.

“The craftsmanship and cadence emanating from our studio is an extension of both the intelligence and the care of the artist’s hand” - Arteriors Design Team.

Discover items from the Modern Serenity collection as well as other new designs in the London showroom in the Design Centre Chelsea Harbour, and online at www.arteriorshome.com.

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Garrett Leather has collaborated with Mark Berryman Design to create the exclusive collection - New Forest. Located in the New Forest studio on the south coast of England, Mark Berryman Design specializes in high-end interiors for superyachts of distinction and shares a passion for ingenuity and authenticity in handcrafted luxury.

Mutual curiosity for innovation in colors, patterns and textures steered the design of this collection—which has particularly attractive visual and tactile appeal. Unlike anything currently on the open market, these sensory attributes are a direct homage to the natural elements of the New Forest. In a world of ever-increasing stress, the New Forest collection offers a haven of harmony, featuring organic materials that bring the serenity of the outdoors into interiors.

Hawkhill

This roughout semi-aniline leather reflects the organic and evolving adaptability of our ever-changing world. Hawkhill is made in Italy and finished with natural resins. The hides are milled and artfully sanded to obtain the visceral textures found in our natural environment. Hawkhill is reversed natural grain leather with a soft, tactile finish and well-worn appearance. It is recommended for moderate to low traffic areas.

Bolderwood

Earthy and layered, Bolderwood harkens the sanctuary of an ancient coniferous canopy and the rich resolute of the centuries-old, undisturbed woodland floor. Bolderwood is embossed with a beautiful organic pattern that is accentuated by hand-finishing artistry, giving depth to the final appearance. As a LeatherShield product, Bolderwood has excellent durability and is recommended for all upholstery applications.

Exbury

Exbury exhibits a spectacular collision of color and texture. Decadent details are exemplified with its large grain pattern. Exbury is a durable, semi-aniline leather and recommended for all upholstery applications. Its hand-tipped and antique finish ensure a beautiful and lasting appearance.

Keyhaven

Relaxed and restful, Keyhaven channels the unique colors and shapes of eroded rocks where fossils have embedded. Its granular, small grain pattern and handcrafted finish give Keyhaven its distinctive touch. Keyhaven is an embossed, semi-aniline leather with excellent durability and is recommended for all upholstery applications.

All 18 GREENGUARD® Certified colors are now in-stock and available for immediate shipment. Please contact your local sales representative to learn more about this exquisite collection and to request samples or visit the website.

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The idea always comes first. This brings excitement, planning, and construction. So much time is spent thinking about the design, employing the right architects, and sourcing the materials. The last on the list is usually the artwork. This is due to many factors, deadlines and budgets, but often, the client has their own art in mind and is determined to use it. This is tricky to navigate; however, it can often undermine the whole project when the painting or artwork is overlooked.

It's such a shame that great projects end up with artwork that does not fit in or gets ignored. It is an awareness of art that can create and bring so much value to a project. Art can rescue some designs from the plain and boring to the 'Wow'. Art can also be introduced to a reasonably mediocre project with limited funding to uplift and create a more lavishing, memorable experience. Many people choose to stay in hotels and are attracted to apartments only for the art.

Working with an artist

One of the ways to guarantee success is if an interior designer works with a local artist who perhaps knows the area and has original oil paintings or watercolours and sketches of the beach at different times of the year. They understand the weather in the area and the unique colours of the sea, sky and sand. This brings a story to the picture and an artist who has a connection with the local community.

It may save time working with a gallery or agent with a stock full of images, but these organisations charge. Artists will never expect service fees. Inviting an artist and their work into the design encourages a conversation, builds new contacts, and there is always a continuation to the story. It costs nothing to reach out to an artist, and although their artwork may be more expensive, or not it brings a richer experience, ensuring longevity and sustaining reputation.

Working with artists brings opportunities and events to a project that perhaps had not been thought about. An opening evening or private view always attracts people and is the perfect excuse to invite the press and other critics who will publicise the opening for free.

The worthy outcome

I was invited to a new apartment opening again in Monaco; although it was a stunning penthouse that I could not afford, I was intrigued, and when I arrived, there were half a dozen agents and staff handing out glasses of champagne. The spacious apartment needed little explaining with beautiful views overlooking the Mediterranean, but it felt empty and devoid of the human touch. It lacked the warm atmosphere of a family home and cosy comforts. I think the agents recognised this and worked with an interior designer bringing in some fantastic oil paintings from a local artist. This not only generated even more interest but was packed every day for a whole week with viewings. The lucky people that bought the apartment were probably thrilled that it was an art gallery for a week. I believe it sold effortlessly and for more than the asking price.

A good design is alive from conception and well into the future; art helps nurture and keep a project fresh and growing. As the artists develop, so does the oeuvre of work. An artist's work becomes their identity; it carries a story.

I now live in the English countryside and love my local pubs, one of which has been refurbished and completely gutted. It has a rural feel with lots of exposed beams, wooden floors perfect for the dogs and quirky ornaments made from recycled bottles and reclaimed bits and pieces. Art is dotted around on the walls, each describing the artist, where they work and live. This is a fun and organic way to bring new customers; it adds value to the experience and brings a sense of community.

Art rarely gets boring, and it brings different societies together, from elusive capitalists to bearded hippies, political to radical and has no religious boundaries. It's a free spirit that can bring warmth to lost spaces, lonely rooms and blank walls.

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In this week's interview with SBID Awards Interior Design judge, Director of Research at Brunel Design School and Brunel University London, Vanja Garaj discusses the use of technology in design and how it affects every aspect of the industry. He also shares what he is most interested to see in this year's Awards design submissions!

How would you define the power of good design?

For me, the baseline for good design still is the famous: “form follows function”, which absolutely must come hand in hand with human-centredness and preferably extend into the “less is more” aesthetics. However, the real power stems from the big idea or, at least, a spark of design innovation that sets the product apart in terms of use scenario, functionality, materials, technology solutions and/or form factor.

How will your background in design, development and innovation inform your judging process? What key qualities will you be looking for in this year’s designs?

My judging process is informed by the experience of practicing, researching and teaching design over the years. By combining these activities, I keep up to date with the latest developments and trends. As a designer, I am particularly interested in the interplay between design and technology and the design-led technology innovation that can improve the quality of life in its various aspects. This interest guides what I am looking for in the designs submitted to the SBID Awards.

Why is technological innovation essential for the interior design sector when it comes to designing new interior products and solutions?

Technological innovation can greatly facilitate the design process; e.g., the immersive technologies of Augmented Reality (AR) and Virtual Reality (VR) are very handy when it comes to conceptualising and visualising new interior design ideas and communicating or co-creating the ideas with clients.

I am also curious to see how the immersive tech-powered Metaverse will develop in the future and to what extent it may become a venue for interior designers to practice their trade. This social 3D digital “real estate” and its promised fully functioning economy may create demand for the design of virtual interiors for the “living” and working spaces within the platform. Some interior design professionals are already getting ready to benefit from this potential opportunity; e.g., see here.

When it comes to the future of our environments, how do you see the role of digital technologies evolving in the coming years?

The environments will become ever smarter, with the advancing Artificial Intelligence (AI) and the Internet of Things (IoT) permitting us to achieve even better energy efficiency and further improve the ability to personalise interiors for comfort and well-being (e.g., air quality) and visual ambience (e.g., lighting).

There are also advances in biophilia and biomimicry and the application of these concepts and the related technologies in interior design. Both concepts promote sustainability and it would therefore be extremely useful to have them gain more traction within the interior design profession. Having said that, I was really pleased to see Ko Tu Elpo – “a smart air biofilter that improves indoor air quality by combining technology and the power of nature”, win in the Interior Technology category at the SBID Awards 2021 for Product Design.

Finally, what advice can you give to designers entering the SBID Awards?

It is very important to clearly present the novelty and innovative aspects of the submitted work. Why do you think your design stands out in the market?

Questions answered by Dr Vanja Garaj, Director of Research, Brunel Design School and Brunel University London.

This week’s instalment of the Project of the Week series features a residential design by 2021 SBID Awards Finalist, Ana Engelhorn Interior Design.

St George's Hill is a 964-acre (3.9 km2) private estate in Weybridge, Surrey, UK, with golf and tennis clubs and approximately 420 houses. The Hill became a leisure location and home to celebrities and entrepreneurs when the land was divided into lots in the 1910s and 1920s and Walter George Tarrant built its first homes. Ringo Star, John Lennon and Sir Cliff Richard are a few of the notable people who have lived there.

Harwood House is one of the original homes; at just under 500 square metres, it sits on about 1.77 acres of land. Late Victorian in style, the house was last renovated 20 years ago and was not done to a very high standard. New rooms were added, like the conservatory; the kitchen and lounge area were opened up; and the use of rooms was changed.

What was the client's brief? 

Prior to our renovation, it was empty for three years, which meant that damp and other issues where left unattended. The main issues to sort out before moving on to the interior design were the electrics, the plumbing and the building works.

The clients wanted to use the existing floor plan, with some changes to door openings and a new kitchen and bathrooms. The old library was turned into a girl’s bedroom – we were able to use existing carpentry and change door openings. The house had five bedrooms, but we turned one into a shower room as the master bathroom didn’t have a shower. All bedrooms except one have their own bathrooms and there are two guest toilets on the ground floor.

What inspired the design of the project?

Interior design-wise, in line with the Ana Engelhorn signature style, we aimed to achieve a perfectly imperfect mix of antiques and contemporary pieces that suited the clients and the house. The clients had a lot of eclectic art, as well their own pieces from Africa, which complemented the design perfectly.

We were given free rein to choose colour and, fortunately, the clients were happy with our suggestions. Two of our main paint suppliers were Francesca’s Paints from the UK, who make bold and strong colours, and Bauwerk from Germany, who use a more washed-out, uneven look.

What was the toughest hurdle your team overcame during the project?

The biggest job was the kitchen. We overhauled it completely as the owners are avid cooks and wanted to have adequate cooking and prep areas. The two outbuildings were converted into a gym and an office, with the same style flowing from the house to the outside rooms.

There was extensive work to do with curtains and upholstery. Some of the older pieces we were able to reupholster and reuse. The furniture was a mix of what the client brought from previous homes and what we supplied from the UK and abroad.

All the lighting was new and signed off by a trusted lighting supplier to ensure that, with the daring colour scheme, the lighting effects inside the house were effective.

What was your team’s highlight of the project?

Overall, the project went smoothly, without too many hiccups. Amazingly, considering the renovation took place during the first Covid lockdown, the clients were able to move in on time and everyone was happy with the final result.

Why did you enter this project into the SBID Awards?

We entered the awards to see people’s reaction and shine a light on our work. We loved doing this project and are very proud of it. Sharing it with other interior designers hopefully inspires them in their own projects or homes.

Questions answered by Ana Engelhorn, Founder, Ana Engelhorn Interior Design.

Introducing the Passage collection, celebrating the joy of seasons and the passing of time. Passage is a series of hand-tufted rug designs made in collaboration with architect and interior designer Brooke Aitken, Founder of Brooke Aitken Design. Inspired by a vivid dream about the passage of time, Brooke worked closely with TSAR Carpets to translate her vision and evocative sketches into six rug patterns - Day, Night, Winter, Spring, Summer and Autumn.

The ebb and flow of time and the continual changing and passing of the seasons is reflected in the collections’ patterns and graphic lines, which inform a sense of movement and placemaking. The collection’s contemplative designs are enhanced by using rich colours, such as midnight blue and russet dawn red, further reflecting how natural light changes from day to night, season to season. Each pattern is available in two different colour options.

The collection will be sold exclusively at TSAR’s studios in Melbourne, Sydney, New York, London, and Shanghai.

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