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Amelia Stevens

Architecture and the thoughtful curation of space and object. Having graduated with BA in Architecture from the University of Cambridge in 2017, she has since worked as a freelance set designer in the luxury sector and designed a small range of interior pieces due to be exhibited at the Radford Gallery in 2021. Her writing focuses on work at the intersection of Architecture, interiors, furniture design and art.

Interview with Desiree Heiss and Ines Kaag. Bless’ collaboration with Fendi for Design Miami/: «Everything has the right to exist, as long as it takes some responsibility»

«I visualize my work as a sculpture that is being refined and polished» – a rough dialogue between violinist Charlie Siem and architect Anne Holtrop on music and architecture

The lithe social muscle of an early freelancer: «As a reader and later as a writer of his character, it was not difficult to imagine [Gabriel Guevrekian] in Gertrude Stein’s house or in a poetry session with Ernest Hemingway and F. Scott Fitzgerald»

«If you don’t like the term Beauty, you could replace it with intentional form». The graphic designer argues for the inclusion of Beauty in academic discourse

A regime at the mercy of international and private interests with the persistence of social structures forged in the pre-fascist period — in discourse with Professor Lucy Maulsby

Following limited to no social gatherings, 1b played host to Bar Alto, Bar Basso — a night of Italian canapés and Negronis in honor of the famous Milanese bar

Griffin Frazen on data visualization, 3D modelling and «using architectural thinking and technical skills to help people understand protests from a spacial perspective»

Director of the Vitra Design Museum, Dr. Mateo Kries: «Museums are not only reflecting social evolutions but seeing themselves as an active part in society»

How knowing the origin of your pieces helps to create a client experience that surpasses the act of buying something. «You just should care who’s made something and where it’s come from».

Acquired by Hermès in the Nineties, bundles of hardwearing Russia leather from the cargo hold of the Metta Catherina survive two centuries below the water for closer study