Second Place Winner
Modular Reading
Design by
Inès Romy
The concept of creating a bus stop that doubles as an interactive open-air library is innovative. The rotating envelope and the emphasis on user interaction with the space demonstrate creativity in reimagining traditional urban structures. The minimalist design and use of solid wood walls for the bus stop contribute to visual appeal. The integration of a green cover and interactive features adds an aesthetic touch. The design emphasizes functionality with its rotating envelope, wooden seats, storage, and an interactive open-air library. The focus on a small footprint, bicycle parking, and accessibility for people with reduced mobility enhances practicality.
Inès Romy
Inès ROMY, aged 20, is currently in her third year at the Ecole Nationale Supérieure d'Architecture of Lyon, pursuing university training with the goal of obtaining the State Diploma in Architecture. Despite being a novice, she has always been passionate about artistic activities such as piano and dance. Her inclination towards creation and design manifested at a young age; at barely 6 years old, she was already crafting small paper models on her grandparent's kitchen table.
Celebrating Creativity & Vision
Winner’s Spotlight: An Exclusive Interview
Discover the story behind the victory — from concept to creation.
Please introduce yourself briefly and provide some insights into your background in design.
I am 20 years old. Currently in my third year at the Ecole Nationale Supérieure d'Architecture of Lyon, I am following university training with the aim of obtaining the State Diploma in Architect. Novice but always passionate about artistic activities such as piano and dance, the taste for creating and shaping already appeared to me when I was little. Barely 6 years old, I was already making small paper models on my grandparent's kitchen table.
Could you give us an overview of your winning street furniture design?
The idea of my street furniture is based on an inclusive and appropriable principle of the simple bus shelter. With an eco-responsible and cultural concern, the idea is to be able to make a place often neglected and abused with a pleasant waiting space. Through reading and a rotating wooden envelope, interconnection is created between individuals. They can read, interact and pass on a taste for reading to each other and to other bus shelters.
Urban street furniture plays a crucial role in enhancing the cityscape. How does your design take into account the specific needs and aspirations of residents, visitors, and people with disabilities in urban settings?
In my opinion, taking into account the site as well as the individual are the first considerations that the project manager, whoever he or she may be, must make. Designing urban furniture is a subtle approach to the urban landscape but above all functional for its users. This is why the structure of the street furniture is intended to be minimalist in its aesthetics: two walls covered with a green roof so as not to detract from its environment. The installation of a seating and bicycle parking system allows individuals to relax during this waiting time and to be covered in the event of bad weather. Due to its small footprint on the ground, the device is accessible to people with reduced mobility.
Sustainability is a key focus in this competition. How did you incorporate sustainable design principles into your street furniture design?
It is certain that the building sector occupies a central place in ecological issues. Representing 43% of energy consumption, our architectural training as well as our collective conscience invite us to acquire sustainable and eco-responsible thinking. It therefore seemed logical to me to integrate it into my project. This sustainable dimension results in a small footprint of the furniture. The choice of materials used focuses on wood in its entire envelope. The green roof provides a significant island of freshness for its users but also produces natural ventilation since it remains open throughout. Finally, the choice of a reinterpretation of the traditional bus stop into a friendly and inclusive place calls on its curious users to favor public transport rather than their cars within the city.
Can you walk us through the stages of your design process? How did you approach the initial ideation, development, and refinement of your concept?
The design of my project starts from a simple skeletal reflection of the traditional bus shelter. As a daily user of these places, my first intentions refer to questions concerning its strengths and faults. What factors make this place popular and yet individualistic, sometimes trashed and a translator of urban impatience? The first sketches allowed me to rethink the partitions as a human and physical barrier. This is why my intentions focused on a rotating system in order to manage this common environment to everyone’s taste. The best representation of this urban system seemed to me to be the model. A representation tool that I particularly like, it allowed me to perfect the conceptual idea by physically manipulating it and reworking the structural defects of the two pivots.
Street furniture is a part of the urban fabric. How do you envision your street furniture design positively impacting individuals, communities, and the overall urban environment?
Yes, street furniture is part of the urban fabric. This scale solicits not only its users, but also its passers-by and multiple social structures: social groups, workers, families, couples, elderly people, adolescents, children or a single person. Integrating the principle of the library and therefore that of reading is a response provided by access to culture. An integrator of sharing and intergenerational knowledge, the book translates a time of break and well-being for its inhabitants within the bustling city. This principle creates interaction and the transmission of new collective social values, that of urban living together.
Drawing from your experience, what advice would you give to aspiring designers who are passionate about creating innovative and sustainable street furniture solutions?
Being curious and concerned about our environment is essential to becoming aware of the environment in which we live. This is a first essential aspect for doing architecture, urbanism, and design. Passion comes next. Observing, manipulating, making good use of one's senses allows one to take into consideration the needs of its inhabitants. Questioning our environment allows us to aim fairly and judiciously for answers to the issues around us. Finally, travel, let yourself be carried away by external inspirations, open your mind in order to keep this source of architectural passion that drives you.
Winning the Urban Experience: Street Furniture Design Competition is a significant achievement. How does it feel to be recognized for your outstanding work?
Winning this competition is an unexpected opportunity for me. Still a novice in the field of architecture, urban planning and design, being recognized for my work and my visionary thoughts about the city is extremely rewarding and promising for the future. I deeply think that this work is proof that our young generations are overflowing with creativity and will to make our lifestyles more pleasant, and make our cities more viable; which is very promising for the coming years. Therefore, winning this competition is not only a personal accomplishment, but indeed the reflection of a collective oratory.
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