Spotlighting 8 projects from Isola’s showcase at Dutch Design Week 2023

Milan Design Week 2022 showcased a variety of temporary installations designed to captivate the design community. These installations frequently leveraged unique settings, ranging from abandoned nunneries and military hospitals to former sports venues and historic villas, to create impactful experiences. The event featured nine notable installations that demonstrated innovative approaches to design and material use. One featured installation was “A Statement of Form” by Gaggenau, a kitchen manufacturer, which was located in the Villa Necchi Campiglio, a historic Italian villa known from the film “House of Gucci.” This installation, a collaboration with architecture firm 1zu33, marble expert Salvatori, and ceramic specialist Kaufmann, presented a sleek kitchen design within a luxurious setting. Another highlight was "Monumental Wonders" by SolidNature, exhibited at Alcova’s Lavanderia building. This installation showcased the versatility of natural and semi-precious stones, featuring nine types of onyx in a dramatic entry portal. OMA designed a stone-wrapped doorway and marble-and-onyx furniture pieces, including a rotating cabinet and a bed with hidden storage. Sabine Marcelis contributed a pink onyx bathroom sculpture, demonstrating the material’s aesthetic and functional potential. “Silentscape” by Isabella Del Grandi for Slalom, also at Alcova, focused on acoustics. This colorful sound studio installation integrated soft surfacing materials and suspended upholstered spheres to create a calming, sound-absorbing environment, highlighting acoustic system solutions. Hermès presented "Houses" by Charlotte Macaux Perelman, a luminous installation of ash wood and translucent colored paper structures at La Palota. Inspired by water towers, these glowing geometric forms displayed new cashmere fabric designs for the home. Flos’s “See the Stars Again” exhibition, curated by Calvi Brambilla at the Fabbrica Orobia, introduced 14 new lighting products. A key feature was the anniversary edition of the Arco lamp, Arco K, which showcased its lead-free crystal base. The exhibition also included sculptural displays and indoor gardens. Lee Broom’s “Divine Inspiration” presented six new lighting collections and 30 products in a gallery setting. Drawing inspiration from religious architecture, the exhibition featured unique moods in each room and included limited-edition hand-sculpted pieces, such as a broken pendant light in the Requiem collection. Amine El Gotaibi’s 300-pound ceiling-mounted weaving for Beni Rugs, titled Spoken Lines, was unveiled at Alcova. This site-specific artwork, made from 80 feet of natural wool, set the stage for a collection of 10 rugs and was crafted by a cooperative of female weavers in Morocco. Caffè Populaire, a collaboration between Lambert & Fils and DWA Design Studio, offered an _aperitivo_ garden at Alcova. The installation combined sculptural lighting from Lambert & Fils with flowered wallpaper by Superflower and various plantings. It featured an elevated interior garden and a water sculpture, contrasting Brutalist lighting forms with hyperrealistic floral imagery. Finally, "Holotype" by Refractory, a newly launched furniture brand, was presented at Alcova’s E/Space building. The installation created a unique sensory experience with the scent and visual presence of turmeric, used to tint concrete walls and piled on the ground. This backdrop framed Refractory’s artisanal furniture and lighting pieces, crafted from materials like cast bronze and solid black walnut, and incorporated paleontological specimens and imagery of America’s West. #MilanDesignWeek #InstallationArt #ProductDesign #InteriorDecor #FurnitureDesign #LightingDesign #TextileArt #MaterialInnovation #ExperientialDesign

Stockholm Design Week 2025, held from February 3-9 in conjunction with the Stockholm Furniture Fair, showcased the dynamic and evolving landscape of Scandinavian design through a diverse array of exhibitions, events, and furniture launches. The event featured experimental and limited-edition pieces, particularly from the collectible design platform Älvsjö Gård. Among the notable presentations was "Table 4" by Niklas Runesson for Älvsjö Gård, a birch table featuring legs inspired by a beaver's tail, designed to comfortably seat seven. OEO Studio, for &Tradition, introduced the Ita table and bench collection, crafted from oak using Miyadaiku, an ancient Japanese carpentry technique that eliminates the need for screws or glue. This collection, including dining and coffee tables and benches, is designed for flat-pack shipping and easy assembly. Studio Stockholm, in collaboration with Dusty Deco, presented "Decadent," a club chair with a gracefully curved backrest and seat. Made from FSC-certified wood and upholstered in a dusty rose wool-blend bouclé Jacquard, it adds a feminine touch to a classic design. Erik Bratsberg's "CabinEtt" for Älvsjö Gård was a striking limited-edition piece made of walnut framing unevenly cut Mappa burl wood veneer. Form Us With Love designed the Nest Club Chair for +Halle, integrating a side table into a lean silhouette, aimed primarily at the hospitality market. Axel Wannberg's "Lamp 53" for Nordiska Galleriet, named for its 53-degree design angle, was re-released in new powder-coated stainless steel finishes. Thomas Bernstrand and Stefan Borselius, for Blå Station, introduced "Villhem," a lounge chair that blurs the lines between business and residential design with various customizable upgrades. David Ericsson's "V.DE.07" for Verk is a distinctive armchair with an optional Gotland sheepskin seat cover, known for its unique wool. Rug company Layered celebrated a decade with "Ten Years Unfolded," an archival collection re-presenting three existing geometric patterns—Illusion, Letters, and Triangle—in new colorways, all hand-tufted from 100% wool. Form Us With Love also collaborated with Baux on "X-Felt," a soundproofing solution featuring large-format acoustic panels and tiles with circular patterns inspired by Japanese Zen gardens. These panels are made from GRS-certified PET plastic, meeting fire safety standards without harmful chemicals. Finally, Kay Bojesen introduced the "Painted Mini Monkey," a four-inch rendition of the iconic wooden monkey, now available in apple green and power pink, crafted from FSC-certified beech wood. These highlights collectively demonstrate the innovation and aesthetic diversity showcased at Stockholm Design Week 2025. #StockholmDesignWeek #ScandinavianDesign #FurnitureFair #InteriorDesign #ProductLaunches #SustainableDesign #Craftsmanship #DesignExhibitions

Milan Design Week transforms the city into a global design hub, attracting attendees to both Salone del Mobile and Fuorisalone. This year's event showcases a diverse range of installations, highlighting innovative approaches to design, lighting, and materiality. Atelier Biagetti, a recurring favorite at Fuorisalone, presents "The King," an exploration of obsessions inspired by Elvis Presley. Their installation reimagines a fantastical living room featuring "The King Sofa," a modular piece accompanied by guitar cases cleverly reinterpreted as tables with intricate Ravenna mosaics. This piece exemplifies their propensity for the impossible and their unique artistic vision. Ross Gardam, an Australian lighting designer, offers "Transcendence," an exhibit focused on the allure of illuminated glass. Gardam, known for creating meditative moods with his fixtures, demonstrates his broad talents and deep fascination with glass's ability to transcend physical boundaries. The installation promises a dynamic curation of luminaires, showcasing the material's unparalleled qualities. Giopato & Coombes, Treviso-based lighting masters, unveil "18 Pockets" after six years of dedicated research. This exhibit provides a glimpse into their creative process, highlighting the magical qualities of the immaterial. Their previous fixtures are transformed into 18 unique luminaires through a complex system of weight and balance, creating charming and poetic combinations. Galerie Philia's "Desacralized" exhibition takes place in a deconsecrated 11th-century Milanese church, fittingly exploring the theme of desacralization. Over 20 artists from the gallery's roster contribute to this unique setting. Notable pieces include Studiopepe's octagonal marble side table, inspired by Italian baptisteries, Kar Studio’s chair, drawing inspiration from ancient Chinese Shang Dynasty script, and a monumental chandelier by Morghen Studio, designed to offer a transformative experience of light within the historic space. SolidNature returns with "Beyond the Surface," an OMA-designed installation that metaphorically connects quarrying stone with the act of dreaming across seven distinct rooms. A highlight is Sabine Marcelis’s lustrous table, an ombré glass coffee table anchored by impressive stone blocks, demonstrating her experimental approach to materials. Objects of Common Interest, composed of Eleni Petaloti and Leonidas Trampoukis, presents "Poikilos." Inspired by ancient Greek references to iridescence and insights from Romanian artisan Ovidiu Colea, their ethereal objects and tables with opalescent finishes and sinuous curves inject energy into the Nilufar Depot. Loewe Chairs, under Jonathan Anderson's direction, reinterprets chairs into distinctive totems through an emphasis on texture, personality, color, and weaving. The display integrates materials close to Loewe’s brand identity, such as leather and raffia, with unexpected techniques like incorporating thermal blankets, elevating the humble stick chair into a canvas for elaborate woven decoration. Suchi Reddy, founder of Reddymade Architecture and Design, collaborates with Lexus on "Shaped by Air," an installation focused on carbon neutrality. Visitors navigate a forest of Matisse-like forms to discover a life-sized interpretation of the Lexus Electrified Sport, designed to evoke the sensation of being shaped by air. Lastly, "Bar Flora" is a collaboration between Sophie Lou Jacobsen, Nick Ozemba, and Felicia Hung of In Common With. Building on their Flora Collection, which employs Venetian glassmaking techniques to mimic natural forms, this installation transforms Palinurobar into a floral oasis. It introduces two new additions, including a sandblasted amber colorway, further enhancing their partnership. Byredo, known for its unconventional approach to fragrance, showcases "Bal D’Afrique by Dozie Kanu." Founder Ben Gorham teamed with Portugal-based artist Dozie Kanu to capture the essence of the beloved fragrance through a showcase that merges Kanu's unique objects with photographic negatives from Adjoa Armah’s _saman archive_, creating a multi-sensory experience that extends beyond traditional perfumery. #MilanDesignWeek #DesignInstallations #Fuorisalone #LightingDesign #FurnitureDesign #MaterialInnovation #CollectibleDesign #ArtAndDesign

The Interior Design Show (IDS) Toronto returns to the Metro Toronto Convention Centre (North Building), offering a comprehensive experience for enthusiasts of interiors, home decor, architecture, technology, and art. The event, held in January 2026, features immersive environments, insights from celebrity designers, presentations by local and international brands, and innovative installations. It commences with an Opening Night party, transforming the show floor into a stylish lounge with live performances and DJ sets, marking the official start of Toronto Design Week. One of the main attractions is the "How We Work" feature, which explores the future of productivity through narrative-driven, cinematic environments. Collaborative design teams, including Ste. Marie x Moooi and 3H + Syllable Design, present installations that investigate the impact of workspaces on creativity, focus, and wellbeing. A notable exhibit within this section is the "Pomodoro" installation by BDP Quadrangle, which provides a physical interpretation of productivity cycles using light and texture. The Central Bar at IDS, named "Field of Interaction," serves as an interactive art installation created by Yury Goncharov and Alina Tacmelova. This space combines cocktail service with artistic engagement, featuring floating threads symbolizing human connection and a large "social rock" bar that allows guests to experience art from within. The show also highlights "Colour Drenching," a major trend emphasizing bold, saturated hues. Benjamin Moore showcases its 2026 Colour of the Year, Silhouette AF-655, a charcoal-plum shade, demonstrating how confident, monochromatic aesthetics can be integrated into home environments through brands like Hollis + Morris. The event features a distinguished lineup of speakers, including Canadian design figures such as Tommy Smythe, Brian Gluckstein, and Colette van den Thillart. International design icons, including Yves Béhar of Uber's founding team, Eames Demetrios, and architect Tatiana Bilbao, also contribute to the program. A keynote address titled “Rethinking AI’s Impact on the Business of Design” explores how artificial intelligence is transforming the design industry. IKEA Canada returns to IDS with a 600 sq ft immersive kitchen experience. This exhibit demonstrates practical and affordable world-class design solutions, showcasing a main kitchen, a hidden prep kitchen, a dining area, and a walk-in pantry. Another highlight is ILLUMINATE, a new feature curated by ThinkL Lighting Studio. This immersive "tunnel of light" combines art, technology, and design, presenting innovative lighting solutions from brands such as Anony and Delta Light. IDS also introduces the Furniture Forecast, a debut gallery-style showcase curated by Azure Magazine. This feature highlights the year's most exciting design innovations, including the Canadian premiere of works from international brands like Moooi, HAY, and SEM Milano. It provides an exclusive look at groundbreaking products such as Yves Béhar’s modular Peaks Sofa and Nicholas Baker’s Haybale Lounge Chair, emphasizing sustainable materials and contemporary silhouettes. Additionally, Atriani presents its evolving artistic direction, featuring rich, moody hues like terracotta and burgundy with deeply textured fabrics. Their booth showcases the debut of the Ottagono Coffee Table set and the Tuscano Chair, alongside updated versions of their core collection, like the Cielo Arm Chair, coinciding with the opening of their second Toronto showroom. #IDSToronto #InteriorDesignShow #DesignTrends #HomeDecor #Architecture #InteractiveArt #DesignInnovation #TorontoEvents #DesignWeek

The article showcases the Rising Talent awards at Maison&Objet, a Paris-based trade fair celebrating its 25th year, which took place from September 8-12 at the Parc des Expositions Paris Nord Villepinte. This year's program specifically highlights Dutch design, a field that has historically captured the interest of the industrial design community since the 1990s, with pioneering figures such as Hella Jongerius and Marcel Wanders. The current design landscape, however, is being enriched by a new generation of designers who have been recognized as Rising Talent. A distinguished jury comprising globally renowned female designers, including Kiki Van Eijk, Weiki Somers, Ineke Hans, and Hella Jongerius, selected four individual talents and two design duos for this prestigious accolade. Chantal Hamaide, founder of Intermuros magazine, also played a role in the selection process. While Dutch design traditionally signifies experimental and conceptual approaches, its scope has broadened to encompass an international cohort of students and designers educated or residing in the Netherlands, indicating that "Dutch design is also a state of mind." This new wave of Dutch designers is distinguished by their emphasis on sustainability, frequently incorporating reused waste materials into their creations, and fostering collaborative practices. The article introduces six of these Rising Talents: Atelier Fig, Studio Hanna Kooistra, Théophile Blandet, Studio Yoon Seok-Hyeon, Visser & Meijwaard, and Simone Post, along with Sanne Terweij who received the award for Craft. Atelier Fig, composed of Ruben Hoogvliet and Gijs Wouters, presents the "Gravity" ceramics collection, featuring bowls and candleholders. Their innovative technique involves building objects with liquid clay over a foam armature, which then disappears during firing, resulting in extremely thin, fragile porcelain forms that symbolize impermanence. Studio Hanna Kooistra draws inspiration from traditional Dutch objects and furniture. Her reimagining of the "knopstoel" chair as a foldable, wall-mountable piece exemplifies a nomadic approach to classic styles. Théophile Blandet primarily works with recyclable aluminum and plastic offcuts from local factories, creating pieces that blur the lines between functional furnishings and sculpture, such as his "Fountain of Money," often incorporating socio-economic commentary. Studio Yoon Seok-Hyeon, originally from Cheongiu and a graduate of Design Academy Eindhoven, focuses on environmental impact. His "Relaxing Configuration" project repurposes rug-making knotting skills to create repositionable sofa forms, while his "Ott" project explores tree resin as an alternative, recyclable glazing agent for pottery. Visser & Meijwaard, an Arnhem-based duo, known for their bold hues and clean lines, received praise from juror Ineke Hans for their mastery of product design, exemplified by their LYN cabinet for Pulpo and a kaleidoscopic rug for Moooi. Simone Post, from Utrecht and based in Rotterdam, specializes in textiles, creating rugs from recycled wax-printed cotton leftovers for Label/Breed and flooring from repurposed sport shoes for Adidas, with her design process centered on material exploration and playful experimentation. Sanne Terweij, awarded for Craft, transforms photos of aged doors into wall sculptures using hundreds of colorful metal chips, fascinated by how color influences mood. These designers collectively demonstrate the evolving, innovative, and environmentally conscious direction of contemporary Dutch design. #MaisonObjet #DutchDesign #RisingTalentAwards #SustainableDesign #Ceramics #FurnitureDesign #TextileDesign #ProductDesign #ArtisanCrafts

Clerkenwell Design Week 2025, held from May 20-22 in London, showcased a vibrant array of design innovations, installations, and product launches. The event, known for transforming commercial design into an engaging exhibition, utilized iconic venues such as the 14th-century Charterhouse, a new space in Smithfield Market, and the medieval St Bartholomew’s Church, dubbed ‘Church of Design’ for the occasion. The atmosphere was notably lively, attracting significant crowds across various showrooms and venues. Among the standout installations was 'A Week at the Knees' by artist Alex Chinneck, a surrealist sculpture crafted from 7,000 bricks. This piece mimicked the Georgian façades of Charterhouse Square but dramatically bent across a path, inviting visitors to experience its distorted form. Although Clerkenwell Design Week concluded on May 22, Chinneck’s installation remained accessible until early July. Another notable public artwork was 'Harmonic Tides' by Arthur Mamou-Mani, which featured two sweeping 3D-printed walls with integrated bench seating. Designed to evoke the natural movement of water, the undulating walls were constructed from a sugar-based bioplastic (PLA) and incorporated LED lighting and a calming soundtrack, creating an immersive and tranquil environment. Additionally, 'Brick from a Stone: Arch Revival,' a collaboration between Hawkins\Brown and Webb Yates for Albion Stone and Hutton Stone, was unveiled on Clerkenwell Green. This double-arched pavilion, made from British stone bricks, demonstrated the inherent strength of stone through incredibly thin, load-bearing arches, merging ancient techniques with modern engineering. The event also featured unique interactive experiences, such as 'Beasley’s Biscuit Bar' by Sons of Beasley, located at Hawkins\Brown’s Clerkenwell Road studio. This installation revived a local historical anecdote about London’s first 'biscuit bar,' offering visitors Yorkshire Tea and homemade biscuits within a retrofitted servery. The space also showcased colorful furniture made from Plykea offcuts and provided a live-making demonstration, blending historical homage with contemporary design. In terms of product design, Hand & Eye presented a tactile range of slip-cast terracotta, stoneware, and porcelain wall lights, all handmade in their Devon workshop, as part of the British Collection. David Irwin introduced the 'Caston' chair for Origin Furniture, notable for its elegant form and circular design principles, featuring a tubular steel frame and zero-waste 3D-knitted upholstery that is fully recyclable. SCP debuted the 'Archer' chair by Magnus Long, a cantilever design with a tubular metal frame and plywood seat, displayed in the Church of Design. Mirage, in collaboration with AMDL Circle, launched ‘Terrae,’ a ceramic surface collection exploring the emotional connection between ceramics, light, and space, presented at Charterhouse. Curiousa introduced 'Carnival,' a sculptural lighting collection displayed in the underground space of the House of Detention. This collection combined hand-blown glass, porcelain, and wood in playful, Harlequin-inspired forms. NaughtOne launched 'Fin,' a new lounge chair by Daniel Schofield, inspired by 1960s space-age design and constructed with a simple plywood frame, minimizing its embodied carbon. Italian brand Bolzan showcased the 'Milo' bed, a cocooning design with a soft, foldable headboard, at Old Sessions House. Bolzan also exhibited headboards from their 'Woven Dreams' collection, including 'Fiocco' by Martino Gamper and 'Rosary' by India Mahdavi, both previously admired in Milan. The event successfully combined large-scale installations, product launches, and interactive elements, solidifying its reputation as a significant event in the design calendar. #ClerkenwellDesignWeek #LondonDesign #ArtInstallation #FurnitureDesign #LightingDesign #SustainableDesign #ArchitecturalInnovation #ProductLaunch #InteriorDesign

Helsinki Design Week 2024, themed 'Underneath,' highlighted Finland's integral approach to design within everyday life, emphasizing a surge of progress driven by design innovation in the capital. The event, held from September 6 to 15, showcased a variety of design-related initiatives and developments across Helsinki. Beyond traditional trade fair exhibits, the week featured explorations of architectural landmarks, including new projects by notable architects like Steven Holl, alongside innovative urban developments such as a new hotel and headquarters predominantly constructed from wood for the forestry company Stora Enso. Discussions also revolved around the planned redevelopment of Helsinki's old harborfront into a new museum quarter, spearheaded by an architectural competition for a Museum of Design and Architecture. The event also served as a platform to introduce new creative directors of established Finnish design brands, signaling a vibrant and forward-looking design landscape. The article touches upon the broader Finnish societal context, noting the country's high ranking in global happiness surveys and highlighting unique social provisions such as free, state-funded hot meals for children under 16 during summer holidays, and an extensive underground tunnel system designed to shelter the entire urban population during a catastrophe, complete with essential services and amenities for three years. While acknowledging these remarkable social aspects, the piece also addresses the economic challenges facing Helsinki, particularly in its tourism sector due to geopolitical events and the impact on air travel, which has affected the city's role as an Asian transit hub. Despite these hurdles, a director from the digital design agency Reaktor explained Finland's agile transition from manufacturing to a technology-driven economy, positioning the country as a laboratory for brand development. Key highlights from Helsinki Design Week 2024 included a significant focus on education and research at Aalto University. The university, formed by the merger of business, technology, and design institutions, inaugurated a new building dedicated to AI, augmented reality, brain research, and communication. Its 'Designs for a Cooler Planet' exhibition showcased student work on sustainable solutions, such as textiles made from recycled banknotes, alternative packaging, and wood-based sequins, underscoring the university's role as a future-oriented research hub. Iittala, under its new creative director Janni Vepsäläinen, presented a captivating 'Kaamos' exhibition, featuring ten monumental glass sculptures that explored the interplay of light and glass, celebrating the brand's heritage while embracing a dynamic future. The Helsinki Design Museum, recently merged with the Museum of Finnish Architecture, hosted 'FIX: Care and Repair,' an exhibition that thoughtfully examined the cultural impact of maintenance and repair on belongings and buildings, coinciding with plans for a major new design and architecture museum. Further enriching the design week was the Finnish Design Shop's launch of its own-brand collection, 'Pelata,' celebrating its 20th anniversary with a range of playful wooden objects for children and adults, emphasizing engagement over mere aesthetics. The Habitare trade fair, while primarily serving the Finnish market, showcased emerging talents like Myceen, which explores mycelium as a building material, and Teemu Vidgren, who reinterprets traditional Finnish vernacular objects. Lastly, the upcoming Ruoholati Playground, a collaboration between children's author Linda Liukas and Helsinki's chief design officer Hanna Harris, was introduced as the world's first computer-themed playground. This innovative space aims to demystify digital culture for children through interactive play, aligning with Alvar Aalto's philosophy of learning through engagement. #HelsinkiDesignWeek #FinnishDesign #DesignInnovation #SustainableDesign #AaltoUniversity #Iittala #HelsinkiDesignMuseum #UrbanDevelopment #PlaygroundDesign #Architecture

i29, an Amsterdam-based design office, focuses on interior and architecture projects, aiming to create spaces with strong, clear identities. Founded by Jaspar Jansen and Jeroen Dellensen, i29 works with a dedicated team of interior designers and architects on a diverse range of international projects. Their portfolio includes award-winning residential, hospitality, office, retail, and exhibition designs, with notable clients such as Booking.com, Bijenkorf Amsterdam, Amerborgh, Samsonite Europe, FRAME Magazine, and the National Ceramics Museum. The firm believes that the environment significantly influences human interaction, socialization, and daily life. Their approach involves distilling each assignment to its essence, striving to produce work that contributes to a better future. They see opportunities in both the renovation of monumental heritage, by integrating historical qualities into contemporary design, and in new construction, by focusing on future-proof solutions. This dual perspective informs their objective to create understandable, comfortable, and functional buildings that enrich daily life. i29 maintains a consistent interior design style by prioritizing clear communication with clients. They emphasize careful listening to initial requests and ideas to gather comprehensive information, which often leads to innovative and unexpected solutions. The firm asserts that every project requires unique solutions, rejecting standardized approaches in favor of personalized and specific designs. They aim to deliver progressive work characterized by its simplicity, creating clear, effective, and surprising physical experiences in an increasingly digital world. The diversity of their portfolio enables them to think creatively and inclusively for various clients and users. While their solutions are not standard, their working methods are standardized to ensure quality, efficiency, and creativity. The studio emphasizes continuous adaptation and close collaboration with clients and partners. Regarding influences, i29 acknowledges many admirable designers but strives to remain authentic to their own vision, avoiding excessive imitation. They are inspired by their everyday environment, including nature, literature, exhibitions, and films, drawing from the rich cultural resources of Amsterdam. Social media serves as a practical tool for marketing and sharing their projects, offering insights into their design philosophy, building processes, and inspirational concepts, while they consciously avoid being overly influenced by online trends. On sustainable design, i29 adopts a pragmatic approach, encouraging clients to opt for sustainable solutions whenever possible. Their goal is to maximize the impact of sustainable design, motivating broader adoption of eco-friendly materials, energy systems, and new developments for a better future. They have developed a system to categorize products and materials, raising client awareness about the sustainability, durability, and cost implications of their choices. This focus on awareness is a powerful driver for promoting sustainable design. i29 expresses aspirations to expand into architectural practice, combining their existing interior design expertise with a broader architectural vision to create places with strong identities. They anticipate upcoming large-scale projects, including hotels, spas, and sustainable homes, indicating their readiness for new challenges and collaborations with international partners. #InteriorDesign #ArchitectureProjects #AwardWinningDesigns #SustainableDesign #ClientCollaboration #DesignProcess #FutureProofDesign #DutchDesign

This year-in-review article from Core77 highlights significant trends and notable designs in furniture and lighting throughout 2011, alongside a retrospective of major international design festivals. The review begins by emphasizing the continuous relevance of furniture and lighting in industrial design, noting that while broader topics like technology emerge, these categories remain fundamental. Key discussions include the versatile use of wood as a material in furniture, featuring pieces ranging from left-field commentary to subtractive designs, crazy curves, and plywood pods, often incorporating nest-like warping. The article also showcases various applications of reclaimed materials, from preserved and polished pieces to de-militarized items and those simply repurposed. Lighting designs are explored in depth, highlighting how many lamps creatively mimic other objects, including the lampshade itself, leading to skeuomorphic designs like the cluster-like 'TamTam' ceiling lamp, the futuristic 'LED Shade Lamp,' and the humble 'Sympathy for the Bulb.' The popular levitating lamps by Light Light are also mentioned. Beyond conventional forms, lamps took on abstract biomorphic shapes, both 3D-printed and otherwise, and imaginative forms such as an open-ocean predator, fly kicks, and a maritime marker. The intersection of indoor lighting and upcycling is noted, with designers transforming plumbing fixtures into steampunk lighting and repurposing recyclable materials into elegant pendant lamps and minimalist desk lamps. The 'Liter of Light' project, developed by MIT students, is recognized for its significant social impact in providing sustainable lighting solutions. Chairs, a staple of furniture design, are presented through their diverse material explorations. These include aluminum wire, cork, laser-cut steel, Twintex, recycled PET bottles, piano keys, circuit boards, salvaged signage, and even the creative use of empty space. The article humorously contrasts a chair made of discarded candy wrappers with one made entirely of candy, both praised for their aesthetic appeal. The vast array of chair designs in terms of shapes and sizes is acknowledged, including those designed for bachelors and by student bachelors, and chairs that resemble other objects. DIY approaches to seating are also covered, ranging from emphatically designed pieces to simpler, deconstructed or remixed versions of classic designs like the Eames Lounge. The enduring popularity of the Mid-Century Modern (MCM) aesthetic is discussed, noting its continued presence in designs both at home and internationally, despite playful attempts to 'retire' it. The MCM movement persists through the resurrection of long-lost designs, limited-edition reinterpretations, and online resources. The review then shifts to an overview of global design weeks and festivals. Dutch Design Week 2011 is highlighted for its conceptually rich work, including Tom Gottelier's wax creations and Dennis Parren's 'CMYK Lamp.' The inaugural Beijing Design Week showcased 'site-specific' designs reflecting mainland Chinese cultural touchstones, such as the 'Chinese Stuff' exhibit and the Water Calligraphy Device Tricycle Hack, with Naihan Li's 'CRATES' collection of mobile pop-up furniture being a notable success. Design Tide Tokyo, part of Tokyo Design Week, featured 'Souvenir' by Design Soil, a series of furniture designed for easy disassembly and travel. Exhibitions in Tokyo offered a comprehensive view of Japanese design, from traditional crafts to contemporary issues and accessories. Vienna Design Week, though smaller, presented significant installations, including Philippe Malouin's collaboration with Lobmeyr and Thomas Feichtner's crafted 'M3' chair. The Salone Milan, recognized as the year's largest design event, featured Studio Formafantasma's 'Botanica,' an exploration of material science roots, and Thomas Lommée's forward-thinking OpenStructures project. The Open Source movement's impact on furniture design, seen in DIY projects and design-build firms, is also emphasized. Milan's diverse offerings included craft mashups, photoluminescent lamps, and unique material explorations. New York Design Week, including ICFF and the Noho Design District, showcased American innovation and craftsmanship, with notable works from Uhuru and Lindsey Adelman, and a tribute exhibition for Tobias Wong. London Design Week featured diverse European designs, such as the 'Argonaut' collection by Greek designers and Kyuhyung Cho's experimental typography, alongside student projects from the RCA and eco-minded cardboard furniture startups, concluding the review with a look at cardboard's versatile applications. #FurnitureDesign #LightingDesign #DesignFestivals #MaterialInnovation #Upcycling #MidCenturyModern #DutchDesignWeek #BeijingDesignWeek #TokyoDesignWeek #ViennaDesignWeek #SaloneMilan #NewYorkDesignWeek #LondonDesignFestival #OpenSourceDesign #SustainableDesign

This week's Dezeen Showroom highlights eight new product introductions, focusing on furniture and lighting designs from various international brands and designers. Kicking off the selection is the Chord sofa by Canadian design company Part & Whole. This modular seating system draws inspiration from 1970s lounge aesthetics while incorporating modern construction techniques and upholstery. The Chord sofa allows for flexible arrangements with its corner module, flat back module, and backless ottoman, catering to diverse spatial needs and user preferences. Following the Chord sofa, the Stair table lamp by Notchi Architects for Swedish lighting brand Oblure is introduced. This playful lamp features a stepped steel base topped with a spherical light, designed to evoke a sense of geometry and gravity. Its versatile design makes it suitable for both home and office environments, with an added functionality as a bookend. Another notable product is the 4PM chaise longue by Swedish brand Massproductions. Unveiled at Stockholm Design Week 2022, the 4PM chaise longue prioritizes comfort without relying on traditional upholstery, utilizing laminated wood. It includes a raised footrest that can serve as an additional seat or a side table. In a tribute to Italian designer Enzo Mari, Massproductions also offers a self-build version of the 4PM, complete with instructions for assembly using readily available hardware store materials, promoting DIY engagement. Monogram, distributed through Galerie Revel, presents the Spirit coffee table. This sculptural piece features an inverted cone tabletop and a substantial base crafted from exotic oak. It is part of Monogram's forthcoming Escales collection, which reinterprets 19th-century furniture characteristics into contemporary designs, emphasizing artistic form and material quality. The Lumo pendant lamp, designed by Thomas Bernstrand for Zero Lighting, offers customizable lighting solutions. This conical pendant can be installed individually or grouped in various configurations, including straight lines, circles, rectangles, triangles, or squares, thanks to a range of available fittings. This flexibility allows for diverse lighting arrangements in different interior settings. Studioforma, a Swiss architecture and design practice, introduces the Tribù sofa, conceived as a seating island to foster social interaction. The sofa is built on an elliptic walnut wood base and features cushioned seats and backrests upholstered in vibrant patterns, aiming to create an inviting and engaging communal space. Moa Sjöberg's Moci dining table for Swedish brand Asplund is an oak table distinguished by its rounded edges. This design was recognized as furniture of the year in RUM Magazine's Swedish Design Awards 2022, lauded for its harmonious balance of straight and curved elements, offering a contemporary yet classic aesthetic. Finally, the Koster outdoor collection by Studio Norrlandet for Skargaarden is highlighted. This collection of outdoor furniture is specifically engineered to withstand harsh weather conditions. Available from Swedish brand Skargaarden, the Koster range includes chairs, bar stools, and tables in three sizes, all constructed from durable teak wood and UV-resistant rope, ensuring longevity and resilience in exterior environments. These products collectively demonstrate a range of innovative approaches to design, material use, and functionality across different furniture and lighting categories. #ProductDesign #FurnitureDesign #LightingDesign #InteriorDesign #ModularFurniture #OutdoorFurniture #SwedishDesign #CanadianDesign

Studio RAP, a Dutch architectural practice, has completed an innovative project named 'New Delft Blue' which integrates computational design and fabrication with traditional ceramic craftsmanship. The installation serves as an entrance to a residential building block in Delft, a city in the western Netherlands renowned for its historical blue and white pottery production. The project was developed in collaboration with Dutch ceramics manufacturer Koninklijke Tichelaar and aims to redefine ceramic ornamentation in contemporary architecture. New Delft Blue consists of two large entry gates, each measuring approximately four meters in width, eight meters in height, and twelve meters in depth. These gates are situated at the entrance of the PoortMeesters residential building block, part of the larger Nieuw Delft urban redevelopment project. The design is a modern reinterpretation of traditional Dutch city gates and pays homage to Delft's medieval trading history, enveloping a public staircase while also serving as a visual and functional threshold. The design draws inspiration from the aesthetic principles of traditional Delft Blue porcelain plates, which have evolved from replicating Chinese and Japanese patterns to incorporating Dutch motifs. A consistent feature in these plates is the contrast between intricate, nature-inspired frames and serene, picturesque scenes. Studio RAP translates this concept into the New Delft Blue installation, with the gates acting as three-dimensional frames that feature algorithmically generated, nature-inspired patterns. These patterns are designed to guide visitors from the public area into the semi-public courtyard, symbolizing a transition into an idyllic oasis. Studio RAP utilized algorithmic design to address the manufacturing constraints inherent in creating a large-scale curving surface. The geometric design of the tiles carefully incorporates parameters such as maximum overhang, width, height, depth, shrinkage, and internal support structures. This meticulous approach results in a fluid and sculptural composition that resembles a three-dimensional painting. A translucent blue glaze is applied to the surface of these 3D-printed modules, enhancing their visual impact. The glazing technique accentuates the convex contours with a light blue hue, while the concave sections feature deeper blue glaze pools. This creates a dynamic interplay of colors and textures, reflecting the city's canals and its famous porcelains, and is further enhanced by the contrast with the surrounding earth-toned brickwork. #StudioRAP #NewDelftBlue #3DPrinting #CeramicTiles #Delft #ComputationalDesign #ArchitecturalInnovation #PublicArt #TraditionalCraft

Draga Obradovic and Aurel K. Basedow, known as Draga & Aurel, are a design duo celebrated for their artistic approach to materials and composition, drawing influences from fashion to traditional craftsmanship. They are pioneers in upcycling, having started their journey by reinventing furniture and objects. An early open studio event, where people brought old furnishings for reinvention, quickly grew into a significant venture, leading them to establish Draga & Aurel in 2007. Their multidisciplinary studio and workshop focus on art, collectible design, and furnishings. Their debut at Milan Design Week two years later initiated collaborations with brands like Baxter, a partnership that continues to influence their design philosophy. According to Basedow, Baxter was instrumental in professionalizing their design approach. A significant milestone in their career was the launch of the Transparency Matters collection in 2019, which marked a departure from their earlier focus on vintage items and textiles. This collection utilizes resin as the primary material, valued for its interaction with light, and is continuously updated. Obradovic draws inspiration from everyday visual stimuli, capturing images to create mood boards that fuel her imagination. For their "Friday Five" feature, Draga & Aurel share five key inspirations. The first is artist Dan Flavin, whose work on light and color deeply resonates with their own. They admire his ability to transform a common object, the neon tube, into sophisticated art with a "maximalist" effect, despite its minimalist origins. They highlight a recent exhibition "Dedications in Lights" at the Kunstmuseum Basel, one of their favorite museums, and note a permanent installation in its yard. Secondly, they express their appreciation for Superduper, a "Made in Italy" brand from Florence known for its handmade hats. They are drawn to the brand's fresh, creative, and informal style, emphasizing that hats are essential accessories for both of them. Their third inspiration is Joseph Beuys, a German artist and sculptor and a significant figure in conceptual art. His quote, "Jeder mensch ein Künstler" (everyone is an artist), profoundly influenced their approach to painting and their belief in the universal expression of creativity. Beuys is also a reference point for expanding the meaning of art. The fourth point of inspiration is The Venice Venice Hotel. They describe Venice as a city that continually surprises them with its beauty. The hotel, housed in the renovated Ca’ da Mosto Palace overlooking the Rialto, is a synthesis of architecture, fashion, art, and design, showcasing influential avant-garde movements. It is an evocative place owned by the founder of Golden Goose. Finally, their fifth inspiration is their hometown, Lake Como. They find constant inspiration in this historic town, appreciating the peace, relaxation, and freedom the lake offers, particularly enjoying sailing and discovering hidden coves and villages. They feel fortunate to live in such a beautiful place. The article also showcases some of Draga & Aurel's works. The "Flare Collection," an exclusive project for Todd Merrill Studio, explores color and light refraction through Lucite, an acrylic resin. This collection is inspired by Jiyong Lee's study of color's three-dimensionality and Vasa Mihich's acrylic sculptures, focusing on the concepts of composition and breakdown of matter. It premiered at Design Miami in 2023. Their exhibition "Per Speculum in Aenigmate," in collaboration with Contemporary Cluster at Palazzo Brancaccio, Rome (2022), highlighted the dialogue between Aurel K. Basedow’s pictorial works and the duo's iconic design pieces. The exhibition title, drawn from a biblical passage, focuses on "mirror" and "enigma," reflecting their practice of material experimentation, artistic creativity, function, and aesthetics. The "Heritage collection" consists of one-of-a-kind upcycled pieces, born from their passion for vintage items. They collect original vintage furniture from thrift shops and markets, then reinvent them using techniques such as screen printing, embroidery, and resin covering, drawing from their backgrounds in fashion, textiles, art, and graphic design. Each item is restored in their Como atelier. Lastly, "The power of lighthearted design – Exhibition “Tinted Hues” at Nilufar, 2024" is a collaboration with Nilufar gallery, featuring a capsule of playful objects. This collection emphasizes resin, rounded shapes, and pastel shades, exemplified by their Bon Bon lamps, Dewdrops coffee tables, and Glaze table. #DragaAurel #DesignStudio #UpcyclingDesign #MilanDesignWeek #TransparencyMatters #DanFlavin #JosephBeuys #LakeComo #CollectibleDesign

Paris Design Week 2025 showcased a diverse array of innovative and luxurious home decor and furniture designs from various international brands and designers. The event featured installations and new product launches across different venues, including Maison&Objet; and Déco Off, attracting interior design professionals and enthusiasts. Pierre Frey transformed the historic Hôtel de Guise into an immersive experience, presenting its first in-house furniture line, the sand-dune-inspired Déserts collection, and Chroma, a plush cotton velvet created in collaboration with India Mahdavi. The installation was enveloped in scenography by French artist Elizabeth Leriche, showcasing a rich array of patterns and textures. Design Rendezvous, a pop-up on Rue Guénard, featured collaborative works. Jiun Ho's Piedra chair was displayed with JG Switzer’s hand-felted upholstery, alongside Sarah Von Dreele’s metallic cork Ascend wallcovering, and Parete’s new collaboration with Scottish rug designer Wendy Morrison, highlighting unique textures and artistic expressions. Lala Curio's founder, Laura Cheung Wolf, unveiled the Feuillage collection at her private home. This couture-quality series of 10 intricately detailed wall panels, inspired by Japan's Yakushima Island, included designs like Fuki, Cabinet of Curiosities, and the namesake Feuillage, which incorporated wooden beadwork, raffia, and paillettes. Faye Toogood, named Maison&Objet;’s Designer of the Year 2025, presented “Womanifesto!”, a four-part retrospective. The exhibition featured archival furniture in surrealistic settings, such as drawing-room-inspired spaces with anthropometric lounge chairs and a forest-themed room adorned with tree-sized cardboard sunflowers and Toogood’s Woodlands wallcovering for Calico Wallpaper. Samuel & Sons collaborated with passementerie artist Elizabeth Ashdown for the vibrant Kaleidoscope collection. This line included 12 bold, multitonal woven designs, such as pom-pom fringes, scalloped braids, and tasseled borders, all crafted using centuries-old passementerie techniques. Tai Ping unveiled the Nakashima Edition, a collection of rugs that reimagines two original George Nakashima rug prototypes from 1959. The eight distinct designs included Migration I, Dark Moon II, and Bird Star II, paying homage to the late American architect and woodworker. De Gournay’s new introductions at Déco Off were inspired by avant-garde fashion designer Paul Poiret. The collections featured designs like the stippled, gilded silk Dunand and Pietra Dura, a colorful, vignette-style wallcovering accented with hand-painted blooms and birds, designed to evoke inlaid marble. Dedar showcased new textile designs, including the kid-mohair-covered Thank You for Sending Me an Angel velvet, the cloud-flecked Lilaz, and Queneau, a water-repellent wool satin available in over two dozen colorways. Aux Abris founder Karen Robert introduced the Alchemy collection, an old-world-style series printed on gleaming metal leaf grounds. Highlights included the Japanese mural-inspired Paradiso, the Italian Renaissance–driven Palazzo, the marbled Cosmo, and the olive-dotted Martini. The Pollack|Weitzner apartment featured playful patterns, with Pollack’s rhythmic Open Studio series and Spring 2025 additions to the Spring Street line. Lori Weitzner presented her Moorish architecture–inspired Alhambra as Muse collection, which included the polychromatic printed velvet, Intrigue. Zoffany’s previews attracted a notable crowd. The Indienne collection showcased block-print designs and collaborations with artists Charlie Calder-Potts and Melissa White. Upcoming launches included the historically informed Rare Textiles series and the pattern-rich Domino Velvets line. Féau Boiseries celebrated its 150th anniversary with a showcase from The Invisible Collection. The exhibition featured new Garcé & Dimofski–designed floorcoverings from Beni Rugs, sculptural pieces by Indian designer Ashiesh Shah, and newly acquired pieces from Mobilier National, such as Maison Leleu’s Panter chair. Fabricut presented Barry Dixon’s Elysium collection for Vervain, featuring designs like the marbleized ombre Pan Atlas, the pastoral Birds & Bittervine, and Cacao Nut, an enchanting trim with egg-shaped pom-poms. Schumacher’s showroom featured artisanal beauty, including a collection of fabric-sheathed light fixtures by French ceramist Elsa Foulon and a botanical fabric design, Flemish Tapestry, based on a 17th-century Belgian tapestry. Ralph Lauren Home released the Rue Bohème collection, a range of runway-ready textiles available through Designers Guild. The line, inspired by the fashion designer’s Spring 2024 fashion collection, included distressed cotton-linen florals, silk-blend ticking stripes, paint-splattered velvets, and botanical embroideries. CMO Paris introduced designs from its 2025 collection, including the braided Bamboo Petit Chevron wallcovering, the sheer, hand-spun Cashmere Degradé curtain fabric, and Wild Water Lily, a serene mural fashioned from all-natural aquatic fibers. Giobagnara showcased its latest designs, including Kelly Wearstler’s leather-accented Maris line, Glenn Sestig’s minimalist walnut Tanell bar table, and an Elie Saab monogram-stamped folding side table. The Vale London’s founder, Melinda Marquardt, unveiled the Maddox line, an homage to Bauhaus pioneers. The primary-color-drenched collection included 16 designs, such as the zigzagging Diana Stripe fabric, the Roman Holiday wallcovering, and the geometric Charlie upholstery. Belgian wallcoverings brand Omexco launched three collections: Light at Night, with 10 glimmering metallic designs like Stardust; Oase, featuring nine textural paper-weave patterns; and Pure, comprising a dozen soothing monochrome styles like Sensitive and Refined Earth. French furniture designer Franck Genser introduced the Morse series at his Parisian showroom apartment. The three-piece collection featured walrus-inspired designs, including a marble-topped coffee table with tusk-shaped legs and an iridescent neoprene-upholstered settee with a coordinating armchair. Arte’s Luster collection showcased four ultradimensional wall designs hand-inlaid with pearlescent capiz shells: Perula, Lucea, Abalone, and Cornice, available in multiple hues. Uchronia’s “What’s New? In Hospitality” installation, designed by Julien Sebban, featured a retro-fueled aesthetic with a hand-curated color palette by Tonester Paints. The display included a round, 1970s-style bed by Treca Paris and Diesel Living’s dinnerware for Seletti. L’Objet collaborated with South African artist Ruan Hoffmann for a highly collectible ceramic line. The 13 playful pieces, adorned with 24-karat gold finishes, included the three-dimensional Love You More plate and a three-wick candle with a mask-like lid. These debuts collectively demonstrated a trend towards luxurious materials, artisanal craftsmanship, historical inspirations, and bold artistic expressions, offering a comprehensive glimpse into the future of interior design. #ParisDesignWeek #MaisonObjet #DecoOff #InteriorDesign #HomeDecor #FurnitureDesign #TextileDesign #Wallcovering #LuxuryDesign

The "Innesti" series, developed by designers Alexandra Denton and Sofia Lazzeri, introduces a collection of vessels that seamlessly integrate glass and textiles. The name "Innesti" is derived from the Italian word for grafting, a botanical process involving the fusion of tissues from two distinct plants to cultivate new varieties. This concept serves as the foundational principle for the project, which aims to merge disparate materials to generate novel forms and aesthetic experiences. The core idea behind Innesti is to combine the inherent qualities of a hard, rigid material like glass with the soft, pliable nature of textiles. This juxtaposition results in a compelling visual and tactile harmony, where the seemingly contradictory characteristics of the materials complement each other, creating a sense of belonging and unity. The designers intentionally chose these materials to highlight their individual voices and to stimulate an aesthetic appreciation that thrives on contrasts. This approach celebrates the unique properties of each component while showcasing how they can be harmoniously integrated. Innesti is not merely about combining materials; it is also a deliberate exploration of knowledge and tradition within design. By drawing inspiration from the ancient technique of grafting, Denton and Lazzeri infuse their contemporary design with a reverence for established practices. The project underscores the potential for innovation when traditional methods are reinterpreted through a modern lens, emphasizing the enduring relevance of craftsmanship and material understanding. The series was prominently featured at Greenhouse during Stockholm Design Week, an event recognized for showcasing emerging talent and innovative design concepts. Its exhibition there highlights the project's significance in the broader design landscape, drawing attention to its inventive use of materials and its thoughtful conceptual framework. The public presentation allowed for a wider appreciation of how Innesti challenges conventional perceptions of material compatibility and opens new avenues for design exploration. Through Innesti, Alexandra Denton and Sofia Lazzeri offer a compelling narrative about the transformative power of material synthesis. Their work demonstrates that by thoughtfully combining diverse elements, designers can create objects that are not only visually striking but also imbued with deeper meaning, fostering a richer aesthetic and intellectual engagement with everyday objects. The project serves as an example of how designers can push boundaries by exploring the interplay between contrasting textures and forms, ultimately enriching the discourse on material innovation and design artistry. #InnestiVessels #AlexandraDenton #SofiaLazzeri #GlassTextileDesign #MaterialFusion #DesignInnovation #StockholmDesignWeek #ContemporaryDesign #HomeFurnishings

London Design Festival 2025, in its 23rd edition, showcases a diverse array of installations, exhibitions, and products across the city, emphasizing design's role beyond aesthetics in driving innovation and societal progress. Festival Director Ben Evans highlights the event's commitment to supporting the entire design ecosystem, from emerging talent to established brands, and showcasing London's creative energy. The festival includes numerous district-wide events and installations at leading institutions such as the V&A and the Design Museum. Key highlights include 'Material Matters' at Space House, returning for its fourth edition with new materials like Mycoworks' mycelium-based products and recycled PVB film from FILIE Materials. The Brompton Design District, curated by Alex Tieghi-Walker with the theme 'A Softer World,' invites new voices and unconventional formats, featuring designers like Charlotte Taylor and Tione Trice across non-traditional exhibition spaces. British designer Paul Cocksedge's 'What Nelsons Sees' at Trafalgar Square provides a unique perspective of the city through telescopic viewing portals. Lee Broom's 'Beacon' at the Southbank Centre is a site-specific light installation using upcycled glass fragments to reinterpret classic street lamps into a sculptural chandelier. Max Radford Gallery collaborates with Ercol, commissioning London-based designers to reimagine traditional wooden furniture using rejected parts, displayed at the Clerkenwell Fire Station. The David Collins Foundation presents 'Convergence' at The Lavery, an exhibition celebrating its 40th anniversary and founder David Collins' vision, featuring works by eleven artists and designers. Aram and EcoLattice offer a sustainable alternative to foam with 'Beyond Foam,' commissioning designers to create furniture using EcoLattice's 3D-printed recyclable elastomers. 'A Seat at the Table' by Design Everything is a mobile furniture exhibition travelling in a Luton van, hosting community events with pieces by emerging UK designers. Ceramicist Emma Louise Payne's 'The Objects we Live By' transforms her childhood home into an exhibition space, showcasing crafted design pieces integrated into daily life. Heirloom studio's 'Out of Orifice' explores objects designed for the human body, from medical to pleasurable. Design London Shoreditch debuts with three exhibitions focusing on workplace design, sustainability, and interior trends, featuring prominent designers and brands. 'Otl Aicher: The Legacy Archive' at Wiedemann Lampe offers a rare glimpse into the legendary designer's work, including classic posters and unique pieces for sale. Industrial designer Terence Woodgate and automotive engineer John Barnard collaborate on 'Lightness of Form,' a collection using carbon fibre displayed at Carpenters Workshop Gallery. Finally, 'Reconstructing Value' at the Bank of England Museum features a sculptural installation made from reclaimed banknotes, complementing an exhibition on the Bank's architectural evolution. #LondonDesignFestival #DesignExhibitions #InteriorDesign #MaterialInnovation #SustainableDesign #PublicArtInstallations #EmergingDesigners #FurnitureDesign #ArchitecturalEvolution

Milan Design Week 2023, the first to return to its regular April schedule since 2019, showcased significant shifts and emerging trends in interior design. Attendees observed a strong emphasis on comfort and inviting silhouettes, with “Squish Is the New Blob” emerging as a dominant theme. Oversized, plump seating, such as Gal Gaon’s Macaron chairs at Nilufar Gallery and Cassina’s Moncloud sofa by Patricia Urquiola, highlighted a preference for soft, curvaceous forms designed for relaxation. Fendi Casa also embraced this trend with its Blow Up modular sofa, indicating that comfort remains a top priority in contemporary design. Outdoor living spaces are undergoing a technicolor transformation, moving away from traditional neutrals to incorporate vibrant hues and pastels. Joana Vasconcelos’s new indoor/outdoor BomBom chairs for Roche Bobois exemplify this trend, inspired by Portuguese sunsets and transforming showrooms into kaleidoscopic displays. Flexform and Dedon also introduced colorful outdoor furniture, with Dedon developing a unique color-shifting fiber for its seating, underscoring a desire for playful and expressive outdoor environments. Nature-inspired design, specifically “Moss-Core,” is another prominent trend, moving beyond subtle nods to nature to an immersive integration. Buccellati’s exhibit, featuring accessories nestled among carnivorous plants curated by Lily Kwong, and Forma Rosa’s ceramics paired with real flora and fauna at Alcova, illustrate this approach. Rinck’s designs incorporating undulating vine motifs further highlight the trend of intertwining design with natural elements, expected to influence textiles, rugs, and soft furnishings. Lighting is becoming more portable and versatile, reflecting a move towards indoor-outdoor living. Euroluce, the biennial lighting fair, featured portable lamps that can be easily moved, exemplified by Ginori 1735’s perfume bottle-inspired lights designed by Luca Nichetto, and Tom Dixon’s miniature versions of popular silhouettes. Italian design house Porada also contributed with the Ekero Move, a small, portable wood lamp, showcasing the growing demand for flexible and functional lighting solutions. Murano glasswork is experiencing a contemporary resurgence, with new designers breaking into the traditional space. Barbini Specchi Veneziani’s exhibit at Alcova showcased traditional Venetian glass alongside modern interpretations by emerging artists like Lucia Massari, whose confectionary Toppings chandeliers were displayed at Nilufar Depot. Dolce & Gabbana’s collaboration with Bradley Bowers on the chrysalis-like Fiosa vase, and Sofia Zevi Gallery featuring Akira Hara’s intricate vessels, demonstrate a fresh approach to this heritage craft. Aluminum is gaining traction as a preferred material, appreciated for its lightness and versatility. At Alcova, Arthur Vandergucht presented industrial tables and stools made of aluminum, emphasizing minimalist design and functional adornments. Kiki Goti’s debut collection also featured aluminum components in sconces, candlesticks, and mirrors, showcasing its playful potential. Ledongil Workshop from Korea presented functional objects with stainless steel bases and aluminum plates coated in glass fiber, creating a light, plastic-like appearance. Trompe-l’œil effects are adding a chic, deceptive element to design. Rinck, the French cabinetmaker, presented furnishings with subtly marbled surfaces that, upon closer inspection, were revealed to be lightweight composites. The Touch Wood duo developed a unique terrazzo using wood chips, challenging traditional material perceptions. Additionally, N/A, a design partnership between Natalia Triantafylli and Andrew Scott, utilized 3D printing to create clay mirrors and vessels based on scanned objects, blending traditional craft with digital aesthetics. Finally, textile design is focusing on sustainability and innovative production methods. Goran Sidjimovski’s BOI collection featured home textiles knitted from dead-stock yarns, organic cotton, and recycled polyester, with a production process that minimizes waste. Atelier LUMA presented a wool tent with a working felt machine and floor pillows woven from palm leaves, highlighting alternate uses for underloved textiles. Demeter Fogarasi’s “Frozen Textile” chair, made from a heat-pressed jute-based biocomposite, showcased how innovation can create inviting and comfortable forms from unexpected materials. #MilanDesignWeek #InteriorDesignTrends #FurnitureDesign #SustainableDesign #LightingDesign #MaterialInnovation #OutdoorLiving #TextileArt #DesignExhibitions

West Dean College, specifically its KLC School of Design, showcases ten interior design student projects covering various real-world issues and creative concepts. The institution emphasizes developing industry-focused knowledge and skills, working closely with employers and design professionals, and integrating design development, technical knowledge, and visual communication. The KLC School of Design operates from a London campus in Bloomsbury, part of the Knowledge Quarter, and a rural Grade II listed campus in the South Downs, offering a diverse educational experience. One featured project is "Offbeat" by Iszi Kelly, a bar designed for youth culture. This multi-functional space reimagines traditional bar features, providing an environment for young adults to exchange ideas. Its design allows for dynamic transformation, with tables and seating that can be rearranged for dancing, and a spherical DJ booth contrasting with the rectilinear layout. A relaxed basement area with conversation pits is included for intimate gatherings. Alexandra Hunt-Dallison's "Radiate Liminally From Department Store to Women's Shelter" addresses social challenges through adaptive reuse. This project transforms a historic department store into a shelter for women and children escaping domestic violence. It incorporates trauma-informed design principles to create a transitional space that supports residents' therapeutic needs, aiming to empower them and break the cycle of violence by offering a safe urban environment without outdoor space to prioritize safety. Mary-Jane Vaughan's "The Courtauld Social Club" is a cultural hub inspired by similar arts projects that revitalized post-industrial areas. Located in Coventry, the design reflects the city's heritage and resilience, drawing on its urban setting through material choices, textures, and a color palette that represents its evolving fortunes. The space includes public gathering areas, exhibition rooms, an open archive, a private members' bar, a library, and workshops, along with essential facilities to meet world-class standards. Natalya Traill's "Vivienne Westwood Bar" pays homage to the designer's legacy, creating a space for connection, creativity, and community. The adaptive reuse strategy ensures the design honors the historic site while incorporating contrasting colors, vivid patterns, and dynamic elements like a moving stained-glass installation and an extruding mezzanine cut-out to create an invigorating environment that encapsulates Vivienne Westwood's essence. "Flux" by Alexandra Buckley explores residential design for "ageing in place" through a modular approach. The design uses 900x900mm modules linked to swiveling base units anchored to the floor structure, offering flexibility and easy reconfiguration of open-plan spaces. This allows for various configurations depending on occasion or season, maintaining structure while enabling continuous evolution and adding interest to daily life. Andrée Cooke's "Chemistry" is a cocktail bar for over 21s, inspired by chemical processes. The theatrical and immersive space features unique areas like the "LAB," an amphitheater-style communal space, and a floating glass bar where staff prepare cocktails. The styling combines solid and fluid-looking sustainable materials, with a focus on locally sourced and recycled elements such as oak, steel, glass, perspex, and sustainable flooring. Camilla Phillips's "The Metropole" is a two-story bar and speakeasy in an English seaside town, designed to evoke the theatrical escapism of the golden age of cinema. The bar positions the bartender as a performer, with the bar as their stage. An illuminated sign and tiled façade greet guests, capturing attention and paying homage to historic theater signs. Kim Kirchner's "M+I+X" cocktail bar blends innovative design with practicality for a Gen Z target market. The striking centerpiece features overlapping M, I, and X forms made of ribbed dichroic acrylic sheets that glow and guide guests through the space, which incorporates mixed secondary colors and textures for a visually impactful experience. Emily Garth's "Kudu Community Restaurant" transforms the historic Asylum Chapel into a restaurant and community kitchen. This adaptive reuse project aims to mitigate food insecurity in Southwark by providing nutritious meals, fostering social inclusion, and combating loneliness. The design balances inclusivity and exclusivity, demonstrating that community kitchens and traditional restaurants can coexist and thrive, shifting away from traditional charitable food access models. Aleksandra Cummings's "Kip Hideaways Asylum Chapel" preserves the Grade II listed Asylum Chapel in Peckham, creating a boutique hotel with a café and bar. The project blends the existing distressed aesthetic with the client's signature style. It engages local artists and makers to create a collaborative interior, promoting local talent and community support, and balancing historical preservation with modern use to create new memories within the space. #InteriorDesign #StudentProjects #WestDeanCollege #AdaptiveReuse #SustainableDesign #HospitalityDesign #ResidentialDesign #CommunitySpace #TraumaInformedDesign