IIDA Italy International Design Award


YMY load relief bag
Winner of 2022 GOLD Prize

Design of Cultural & Creative product


In China, due to overwhelming schoolwork, schoolbags have become burdens for primary and secondary school students aged 6-14. YMY focuses on limb protection for children, attaches importance to integrated factors of muscles and bones and uses new materials combined with human physics to create this spine protection schoolbag. This schoolbag overturned the traditional schoolbag form through its four-dimensional scientific pressure reduction to protect the spinal health of primary and secondary school students.Firstly, this schoolbag, with a T-shaped weight-bearing structure, is designed with four straps to reorganize the center of gravity, so that the backpack position lifts up and children's back muscle groups and shoulders and neck bear more evenly. Secondly, the straps adopt EVA, a cushioning material, to reduce the burden on the shoulders and enhance shoulder comfort. Its two secondary straps adjust the center of gravity to ensure a full fit between the back and the schoolbag, reducing the burden on the spine. Thirdly, its back heat dissipation employs the new technology of TPE high elasticity, a natural cool feeling material neither stuffy nor hot. This bag is internally hollowed for better heat dissipation and its exterior windmill lattice structure significantly improves the overall back support. Fourthly, magic finger rings are cleverly added to the elbow position. Children in walking can adjust the elbow movement through finger rings, naturally open the chest, correct the body posture, and unconsciously get rid of the bad habit of backpacking.


Winner of 2022 GOLD Prize

Design of Furniture


. The basic task was to develop a sustainable, metal-free, mass-produced and modularly expandable desk that could complement the existing bed KIDD of GUUT GmbH. On the one hand, the desk had to meet the requirements of GUUT GmbH in terms of a CO2-neutral product, thus consists entirely of components developed and produced locally in a sustainable manner and, on the other hand, it had to be easy to pack. The most difficult task was to establish reasonable production costs. Together with the bed, the desk NIVOO now forms the basis for a children's sustainable furniture series that is currently under development with the aim of becoming CO2-negative.
Dimensions (LxWxH):
in cm: 130x60x72,5 H = 125 cm with canopy
PLAY ON 3 -7 years old: NIVOO has a table height of 52 cm and serves as a stage, a playground in your own empire. The (heaven) tent offers light and space for the imagination of the kiddos. If the light band fed with solar cells is threaded into the back of the tent, you get a spectacularly illuminated stage. If, on the other hand, the light band is threaded at the front of the tent, the tent room is perfectly illuminated for work.
GROW ON 8 -15 years old: With a table height of 62 cm, NIVOO becomes an inspiring and faithful companion for adolescents. From capturing creative ideas, satisfying the thirst for knowledge to the first love letter - NIVOO is always at your side. The practical optional shelves elegantly complete the workplace.
WORK ON 16 -99 years old: With a working height of 72 cm, NIVOO becomes an aesthetic and stable workplace and a creative retreat for all, fitting into any living space as a decorative piece.
The basic structure consists of 4 wooden legs which are guided through a body with drawers. The lower plate of the body has a notch next to each leg’s opening. In the notches are housed the supports of wooden dowels guided through the legs to prevent them from slipping. At the upper end, the table legs have an elliptical cross-section so that they do not twist, at the lower end the section is circular to achieve the most elegant effect.
A rope construction is used to stiffen the system. Under the table, there is a deflection for 2 ropes, which are fixed with a wooden thread and which are guided laterally to the left and right. One end of each rope is threaded through a hole in a table leg or can be fixed there for reinforcement by means of an eight-sling. Each end is then threaded through two holes in the lower table top and braced there. On each side of the table there are two wooden screws, which clamp the rope ends and serve as child protection. The tent poles as well as the dowels on the undersides of the shelves are inserted through the head ends of the legs and locked underneath the table top by tensioning the ropes.

Design by Christian Kroepfl

Born in Western Austria I currently practice as an Architect and Designer in Vienna and Lustenau, where I develop and design high-quality design furniture.
In my design work the questions about functionality and quality as well as the use of natural and sustainable materials are in the centre of the development process. It’s all about the clarity of design and the deliberate restraint to the essential which averts superficial attention: modest, sophisticated and sometimes calm in nature, these pieces of furniture make a point that great design does not tolerate hierarchies or compromise in the interaction of form and function. Sometimes just the simple idea of a truss, and its expression through elegant design is the distinguishing feature of one of these jewels for your home or office.
Modern design, in particular combinations of steel and solid wood, resolves into timeless and aesthetic furniture that beautifies our everyday life.

Barn by the river
Winner of 2022 GOLD Prize

Design of Green Architecture


Where water meets land, a boundary that is constantly changing due to regular changes in the water level, lies the new National Floating Museum and Competence Center for Wetlands (NFKV). The museum’s context, is a mix between river, wetland, fields, meadow and the local community. This is the center of the building’s design - the barn by the river.

Design by Jonas Aarsø

nikolova/aarsø (n/a) is a young architecture and design studio which solely think, design and creates in biobased materials. Architecture and design is at the early stage of a new era, where humanism, health and wellbeing will reenter as the primary parameters, and new natural aesthetics will define the future context. Conventional construction methods and materials cannot deliver on the parameters the future users will demand. This understanding of the transition, and a wish to push forward biobased arhictecture and design, is the foundation of our studio.

BSP20 House
Winner of 2022 GOLD Prize

Design of Residential Housing


. This complex project began 8 years ago, going through all kinds of situations: squats, regulatory disagreements, changes in use, slow and complicated work...although the client's desire to leave the walls with exposed brick and using hydraulic mosaic (the cliché of Barcelona) remained unalterable. In addition, the requirements were to convert this small building located in the Borne district of Barcelona, ​​​​from the end of the 19th century and with 4 floors (but barely 20sqm per floor), into a place where to be able to work and spend short stays in their visits to Barcelona, ​​​​although, along these 8 years, the personal and family situation of the client has changed, to which the project has adapted.
The original situation of the property was in ruins, with very damaged floor slabs, weak stairs, parts of them demolished . Added to this was the need to adapt the building to current regulations, which made it practically impossible from the start to reuse the interior, proceeding to completely demolish the building, maintaining only the facades and dividing walls, and the roof slab (not the stair tower, which was rebuilt).
The construction process, slow and complex, at least allowed decisions to be made as the essence of the estate was revealed with the demolitions. Thus, once all the floors slabs had been demolished and the building was seen as a slender and tall prism formed by walls with a completely heterogeneous composition of all kinds of bricks and stones arranged without apparent order or composition, the idea of ​​leaving all these walls exposed became conceptual: these four walls, over 15m high, are a museum of the building's history, where any trace of its construction (arches, lintels, stairs and beams), and of its use (mortar remains , furnishings, claddings..) will be left unaltered, exposed in all its crudeness. The new floors (3 in total) will be supported by new beams between the dividing walls, which will not touch either of the two facades: towards the main facade, a sheet of glass will separate them from it; and towards the interior façade, the stairwell will be a 4-story void that unites the entire interior and shows the surprising height of such a slender building. Thus, the project is defined, remaining to define the uses of each floor and resolve the technical issues.
Access-kitchen-dining room, living room, bathroom-dressing room, bedroom and terrace form, from bottom to top, the sequence of use. In any case, with the exception of kitchen furniture and bathroom equipment, nothing else occupies the floors, so that their uses can be reversed over time or need, as well as turning the floors into working spaces.
The presence of the installations, by ruling out grooves in the walls or small wells from the beginning, take on a special and relevant role inside: 7 stainless steel cylinders run the entire height of the building, conducting all the electrical, ventilation, plumbing, extraction, sanitation, air conditioning and telecommunications installations inside 6 of the cylinders, leaving one of them empty for future needs. These cylinders are not hidden and run through the building through furniture and floors. The rest of the installations are always visible, never built-in, highlighting the roughness of the masonry walls on which they are located, freeing them from new servitudes.
In terms of materiality, a certain refinement has been pursued in the new elements to be implemented, in opposition to the crude expressiveness of the existing walls, conscious that the space must house a home. Thus, the kitchen is a frosted brass piece of furniture, shiny and with reflections, with a white marble top; the bathroom equipment is paneled with lacquered wood in a slightly cream color, with black and brass details; the 'headboards' of the floors are covered in white microcement; the hydraulic mosaic, microcement and oak floors add warmth and color to the interior; and the lacquered wood ceilings incorporate registers and grids to 'design' these needs.
The structure is all painted white, in search of a certain material abstraction, especially in the development of the spiral staircase, which is developed as a free-standing cylinder that runs the entire height of the building without touching its walls at any time, offering Piranesian views helped by the heterogeneity of the walls and the diversity of points of view.
On the contrary, all the details on the existing walls are direct and raw: the window frames are made with direct mortar, the pre-frames are not concealed, and the structural elements of ties are left unpolished.
Above, on top of the stairwell, a skylight introduces a beautiful gradation of light until the lowest strata; towards the façade, the glass sheets bounce the lighting between floors and introduce ever-changing reflections, allowing the façade to be admired at its full height from the inside, just as it happens in the void of the staircase.
The main façade was rehabilitated following the strict dictates of the heritage department, returning it to an image of the past that it surely never had. Only at the entrance door were we free to invent a front that reproduces the three-dimensional design of the classic hydraulic mosaic (used on the ground floor and much loved by the client) with an exploded view of rhombuses and triangles finished with 3 types of aluminum, which conceals the door (only recognizable by the lock) and abstracts the entrance.

Design by Raul Sanchez

Raúl Sánchez graduated architect from the architecture school in Granada, Spain. Since 2005 resides and works in Barcelona developing a professional activity which escapes specialization in order to cover all types of work and projects related to architecture, interiorism and design.
He is professor in ‘private perimeters’, a postgraduate diploma in interior design in Elisava School of Design, Barcelona.
The work of the office has numerous awards and is published worlwide in printed and online media.
Our approach to architecture and design is based on the encounter of humanism+technique: the former relies on the world of ideas, on the conceptual and cultural focus, while the latter brings the constructive coherence, the grammar, into the equation.
We don’t work with methods, we use no preconceived formulas, we just work with the space, and the space is the conjunction of material, construction, structure, light, color, texture… and thus, each new project is a new challenge

Hangzhou Longfor Tianxuancheng villa
Winner of 2022 GOLD Prize

Design of Model Room


Hangzhou Longfor Tianxuancheng villa
Hangzhou, Longfor Tianxuancheng villa, The first floor is the hardcover delivery standard floor, with a construction area of about 300m square meters.
There are not too many shear walls, the plane stretch, adequate lighting.The luxury and wide scale, sense of freedom and fluidity of large flat layer are different from most such products,
Combined with the public style of the facade and the hardcover standard of the first floor, it needs to be easy to copy to other house types.
modern and simple is the theme of style, to create a product in line with the modern spirit.
The underground space does not belong to the scope of hardcover submission, so it has greater freedom in creation.
The pattern of the space is structural, the branches of the tree, while the furnishings of the space are decorative, like the leaves and beautiful flowers of the tree.


LIYIZHONG & ASSOCIATES founded in 2012, headquartered in Shenzhen, with branches in Chengdu, it is a boutique design company with strategic thinking and pursuit of space temperament, committed to real estate design, cultural and tourism design, commercial design, research on private residence and advanced customized design services
The company has more than 100 professional designers. Adhering to the design concept of "strategic thinking and humanistic temperament", the company provides customers with the best solutions for design and engineering with rational and scientific design strategies and methods in architecture and interior design. In the design, we also pay attention to the integration of contemporary aesthetics, culture, art and function. According to the characteristics of each space, we can shape its elegant and elegant humanistic temperament.

MAGISTER UT Living Aesthetics Pavilon
Winner of 2022 GOLD Prize

Design of Commercial Space


Located in Hangzhou, eastern China’s Zhejiang Province, this mega project is a 3,000m2 life aesthetics museum, the first of this scale in the world. It offers viewers an immersive home experience that is almost magical and surreal.
Guided by the brand concept of "invigorating furniture with art and visualizing art with furniture" and inspired by the film Arrival, the design team reorganizes and superimposes multi-angle arcs and curved surfaces to form a oval structure, and integrates it as the main element into the design of the exhibition space, breaking the barriers between household space and fashionable art, and showing spectators the aesthetics of space and ambience.
The exhibition hall adopts a wavy curtain wall facade that forms a semi-open entrance, creating a sense of mystery about the inside while echoing and connecting with the interior space. The first floor is the exhibition space where organic shapes and arcs are used to partition the display area and create well-arranged sections by means of encircling and dividing, forming smooth and variegated spatial lines. Through the changes of spatial dimension, shape, color and the application of modern audio-visual technology, the design team is able to create various forms of display that causes different length of stay and increases the fun of exploration. The alternate application of the oval shape, which is also adopted in the underground section, presents viewers with a constantly changing visual layout as they proceed forward.
On the basis of the first-floor exhibition hall, the underground space focuses on visual experience and the promotion of home aesthetics. Taking the space as a vehicle for household scenarios, this section is designed to unify viewers' behavioral and emotional needs and establish a link between the forms of space and family bonds. The design team borrows the "flying shuttle" element from Arrival and creates a huge, futuristic oval structure to simulate the “descent of spacecraft” which eliminates the dullness and stagnancy of the underground space. As a kind of carrier, spacecraft represents the project’s valuable role in carrying emotions and building interpersonal relationships. In addition, the integration of indoor and outdoor landscapes, and the use of natural colors and textures create a simple and comfortable home-like style and bring users a visual and emotional experience mixed with reality and fantasy.

Design by Hangzhou Rongdi Architectural Design Co., Ltd.

Hangzhou Rongdi Architectural Design Co., Ltd. is a space design office founded in Hangzhou in 2012. Its business covers business consulting, architecture / interior / landscape and soft decoration design as well as other related industries. Rongdi design is committed to providing professional, aesthetic and humanized comprehensive solutions to space design for partners.
The core team consists of industry elites from overseas areas, Chinese Academy of Arts, Bluetown, Greentown and so on, which has a rich business insight and global design view. Over the years, the team has accumulated extensive practical experience in the fields including culture, tourism and vacation, diversified office, compound business and high-end private residence.

Qingdao Poly Da Guo Jing Future City Sales Center
Winner of 2022 GOLD Prize

Design of Soft Decoration


In this case, the display design tries to carry forward the open, enterprising and inclusive characteristics of Qi culture, sew up the ancient and modern and multi-level spatial elements, and introduce new materials, new processes and new techniques to present an exhibition area combining Qi style and cultural landmarks.
The reception hall art installation is Confucius in the "apricot altar" as the design inspiration, a statue of Confucius under the ginkgo tree became the center of the lobby, with artistic respect to the great educator; the simple statue of Confucius stands under the four meters high ginkgo tree, metal ginkgo tree hollow out staggered woven scriptures.
Since ancient times, literati and scholars love the victory of mountains and rivers, the front desk introduced Qingdao made and beautiful water scenery, the huge landscape painting in the warm light through the faint ancient meaning, the scene is integrated, elegant and popular appreciation.
The Chinese School echoes the allusion of the apricot altar. The decorative painting background with apricot leaves as the element carefully depicts the moment of ginkgo leaves falling. The dazzling gold in this simple lobby, cleverly integrates the novel and elegant style, leading the guests to travel between the ancient and modern. The original space of Chinese school restores the sound of books and music in the old private school teaching, and the rich Confucian cultural implication lingers in the space. The designers continue the theme of ancient and present, let the children feel the beauty of Chinese literature here, and explore, communicate and swim in the vast sea of books.
The open negotiation area takes Confucius' famous saying "know the happy water, benevolent Leshan" as the design inspiration to implant the lines of the building and Qi landscape elements, to make the interior scale more three-dimensional. Sand table area elegant brown, blend of elegant apricot yellow and white, simple and elegant surging full of life.
Tea tasting, view and appreciate its wonderful, smell and please its fragrance, originated from the mellow tea man friendship, different from the gentleman friendship is weak.
Through the textured glass "draw" the water clarity and ripples. Layers of frosted glass row parallel to the facade, like a river ripples. The ripples on the lamp is like an empty mountain new rain, falling on the lampshade condensation into beads, refused to disperse for a long time. Quite a "see the mountains colored, listen to the water silent" poetry. Sofa furniture in the light area into the tile elements of Qi architecture, through the use of split, deconstruction, restructuring of the design techniques, retro Qi tile when with luxurious and dazzling polished metal collision, opposite and unified.


Guffy Design founded in 2006 in Guangzhou, has completed more than 300 projects. By injecting new elements to cities and buildings, we have been exploring our own characteristics through our idea that "good designs make good life". We respect tradition and understand innovation. Starting from comfort designs, Guffy Design has been seeking to bring beauty to every detailed part to realize a bigger dream.

Yunnan Tengchong Wu Shi Homestay
Winner of 2022 GOLD Prize

Design of B&B SpaceTOP 10 Designer


Wu Shi
I’m waiting here for your return
B&B is a kind of small accommodation carrier where the host participates in the reception for visitors to experience the local nature, culture, production and life styles. In the current environment, it has evolved into a deeper emotional requirement for accommodation. It cannot be regarded as a fixed, immutable concept, but as a spatial unit of social travel that is constantly being constructed. Hence, the functional identity for comfortable space and the social identity for elite space put forward deeper requirements for the logical relationship among leisure attributes, social attributes and daily attributes of living space.
Wu Shi B&B project is located in Heshun Town of Tengchong, the most famous border city in Chinese history, Baoshan City, Yunnan Province. Heshun is an ancient town with a history of more than 600 years, where the Han culture of the Central Plains, the cultures of ethnic minorities in border areas, and the cultures of South and Southeast Asia merge. Tengchong's buildings are mainly wooden structures. After combing and analyzing the target customers thoroughly, the designer has fully combed the construction of the internal living space. In order to make guests immerse in the living space of the ancient town, designers are supposed to start from the guests' expectations for life, and to define the character and functional requirements of the space more broadly. So, in this design, the designer redefined the user of the space, and hopes to place a comfortable space carrier of returning hometown and home into the living space, to incorporate relaxation, life and collection function, and to allow the mountains and the scenery to be seen in the room.
Expecting and creating a different way of life is the starting point for all the scenes
The first home is a space that exists to meet the needs of daily life, while the second home endows "home" with richer dynamic connotations and unique symbols. What the second home embodies is a form of travel that breaks away from modernity and satisfies the need for recreation, as well as a lifestyle of regularity, repetition and cycle. It shows a desire for identity, emotion and authenticity. The experience of living in the second home is the process of deconstructing and reorganizing the "home", which constitutes a "home" with the original dwelling and the unique flowing space.
Feel things with your heart when landscapes surround
In addition to practical functionalism, the second home emphasizes the user's spiritual satisfaction, and uses space to response the extreme ego viewpoint of individuals towards "things". The earliest B&B in China evolved from the family hotel model which affords accommodation and breakfast. In fact, the concept of the second home in ancient China was often a courtyard or a villa built by literati and refined scholars outside the scenic mountains. The cultural characteristics and spatial types contained in Chinese traditional architecture are contained in this complete system of landscape, poetry and painting.
The design concept of Wu Shi just comes from thinking about this system.The second home is designed for the social elite. Living in big cities, possessing certain economic strength and social status, they hope to enjoy a vacation experience outside of urban life in the natural environment. At the same time, the architectural language of the house type and the design pattern of the space continue the compatible interaction between the inside and outside of the traditional garden, and the boundary between the courtyard and the interior is eliminated by the oversized glass windows.
The designer has organized the space of the first floor around a preserved 60-year-old Cyathea spinulosa. The lofty atrium and the dining-hall continue the wooden architectural style of Heshun ancient town, making each functional space continue in the architectural form, which forms a sense of unity.
The Tea-Horse Road with a long history has been lying there quietly, with one end connecting the infinite past and the other end connecting the infinite future. It witnessed generations of young men with dreams of getting rich leaving their hometowns for diverse places, told of their yearning for hometowns, and poured out the loneliness of their wives. Those who have made their way around the world have come back here with enthusiasm for their hometown. The imprint of their travels has accumulated continually in the form of houses, artifacts, culture and so on. Sometimes they would gather around the stove and reminisce about their experiences while boiling tea. All of these are the past of the Tea-Horse Road.
The breakfast tables extend the monolithic space into the reception room, making the two space both independent and interconnected. The dark bamboo curtain becomes part of the interior, allowing natural light to permeate the interior, which makes people continue to experience the outdoor living space indoor.
△Details of the dining-hall on the first floor
The texture and weight of life are often hidden in the details. The texture of a single armchair, spectacular mountain scenery outside french windows and the temperature of the viewing room when the sun shines on it are all telling the state of mind of being in nature.
△Second floor master bedroom and spliced details
The second floor is an introverted resting space. On the design, in addition to continuing to use material downstairs, the designer also strengthened the connotation of the space. In master bedrooms, French windows are positioned to create a four-season space that serves as a second-level living space for users.
△Details on the second floor
The small bar was given pride of place in the backyard. As much as possible, the designer removed redundant decorative elements. Black burnt lumber established neutral, rational keynote in color. Luminescent membranes and linear luminaires make the night color of Wu Shi more relaxed and mild.
△The bar in the backyard
The sunken courtyard brings in diffused natural light, making it quiet and introverted enough.
△Outdoor courtyard
2 △The hustle and bustle is hidden in the mountains
Wu Shi is not an indifferent attitude, but a life state of letting go and returning home. It can allow the transform and connection among life, work and society to balance the hustle and bustle in urban and the nature flavour in rural in a new way. The prototype of the ideal home of many people of vision in Chinese history is just the literati's garden, which reflects the real world into the spiritual world.
△Overall detail drawing of the first floor
The suspended ceiling on the first floor is decorated with wood, allowing the view to extend to the outdoor courtyard. The interior stones and Luminaires bring a modest and luxurious space feeling to the open dining-hall.
△The master bedroom on the second floor
△The bathroom in the master bedroom on the second floor
△Children's Room on the second floor
The bedrooms on the second floor are designed with simple shapes to create a warm and relaxed atmosphere. In front of the French window, the man who sleeps with the star river melts into nature the first minute he wakes up in the next morning. As a B&B, the public area on the first floor provides a variety of living experiences and leisure functions. The lofty atrium and reception room become the center of gravity of the whole B&B space. The warm coffee color carpet neutralizes the sense of geometry of the classic modernist furniture. The Cyathea spinulosa which lived at the same time as the dinosaurs in the courtyard and the water feature in the atrium add radiance and beauty to each other, which makes it a unique place to meet people.

Design by TengChong Newtas hospitality management Pty ltd, Canchao Dong

Design by TengChong Newtas hospitality management Pty ltd, Canchao Dong

Originator of Zhengzhou Zhe Pin Architectural Decoration Design
Deputy Secretary-General of Asia Pacific Hotel Design Association (Henan Branch)
Senior designer of China Building Decoration Association
President of Shenzhen Zhongzhuang Construction Group Design Institute (Henan branch).

Hainan Honghua Business Hotel
Winner of 2022 GOLD Prize

Design of Hotel Space


. Zen. It’s a state of mind. Into the landscape, into nature. It’s got a very un-urban personality. Zen is a kind of returning to let the heart dry up. Rejuvenate: Let the body of exhaustion, escape into the natural state. Zen is a pursuit. Remote open noise, living alone in a corner, mind renren tour, extremely eight directions. Like, is a kind of faith. It leads you to find the meaning of life, and into the wisdom of life.

Design by Shengwu Zhu

Zhu Shengwu (Frank), national first-class constructor, internationally registered senior designer, and internationally registered senior project manager; Expert of International Architectural Fengshui Society; Bachelor of Engineering Management, China University of Geosciences; Senior class of architectural geomantic omen in Tsinghua University; Senior Seminar on Hotel Design, Tsinghua University; Master of Autonomous University of Barcelona, Doctor of Catalonia University of Technology (studying); The project hosted by him has won the "Gold Key Awards", the highest honor in global hotel design, the Italian A 'DESIGN AWARD&COMPETITION, the International Space Design Award - Aite Award, the "Huading Award" of China Decoration Association, the "Platinum Award" of Chinese and foreign hotels, and the annual outstanding designer of WAD World Youth Designers Conference; He has been engaged in interior design for 18 years, participated in the design of five-star hotels of many international brands, and is familiar with various electromechanical specialties of hotels. He has rich experience in hotel site design and deepening. Recently, more than 30 international top brand hotels have participated in the design of hotels in China, including Shenzhen Overseas Chinese Town Interstate Hotel, Jiangxi Ganzhou Jinjiang International Hotel, Venice Hotel, Changzhou Hilton Hotel, Xiangshan Hilton Hotel, Marriott Hotel of Galaxy II, Ritz Carlton Hotel, Raffles Hotel of Galaxy III in Macao, etc.

Nan Tong TongZhouWan Demonstration Area Sales Office
Winner of 2022 GOLD Prize

Design of Real Estate Sales



Design by Rui He Decoration Design (Shanghai) Co.LTD