THE WORLD’S LEADING CERAMICS LIFESTYLE SOLUTION PROVIDER. SPECIALISING SANITARYWARE, BRASSWARE, TILES AND FURNITURE.
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A collection that embraces the art of mix and match, featuring a harmonious blend of marble, stone, and cement. The combination creates striking surfaces that capture the natural beauty of geological formations. Perfect for flooring, wall coverings, and countertops, this trend adds an earthy elegance and timeless appeal to any space.
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16 Upfront Projects, products and people through a futurecentric lens.
26 Things I’ve Learnt Jacu Strauss, creative director of Lore group, imparts his thoughts on finding perfection in imperfection and putting personal taste aside.
28 The Height of Design Director of industrial design agency BLOND, James Melia, on the object he feels represents the pinnacle of timeless, great design.
30 Living Better Practicing architect and multidisciplinary artist, Itai Palti, speaks to how transparency is an act of revolution.
32 In conversation with: Tom Dixon Dixon on motorbike accidents, not being a musician and products that look like a child's drawing.
38 In conversation with: Paola Navone Multi-disciplinary designer Paola Navone on craft, curiosity and finding beauty in the ordinary.
44 Colour story Laura Perryman, colour designer and trend forecaster, muses on AI’s role in the future of colour application.
46 Case Study: Walworth Town Hall
After a devastating fire, Southwark’s Walworth Town Hall is sensitively rescued as a new workspace and community hub.
54 Case Study: Gallery Gallery at The Savoy sees Brady Williams' take on design in motion.
62 Case study: Sadler’s Wells East
A decade in the making, Dublin firm O’Donnell + Tuomey brings industrial architecture and inclusive dance education to London’s culturerich East Bank.
70 Case Study: Powerhouse
Chelsea London’s Chelsea Powerhouse sees a former coal-fired power station transformed into a luxury new living development.
78 Case Study:
Dojo Bristol
For Dojo’s Bristol hub, BDG and Tollgard Studio create a workplace centred on art, artistry and place.
86 Innovative Thinking Head of strategy at M Moser, Steve Gale asks the whether the presence of workplace design matches its importance.
89 Positive Impact
Capturing waste as it flows downstream, Indonesian creatives Sungai Design o er up a new future for reclaimed plastic.
94 Fast Forward
Why an urban model of sustainability might represent society’s best hope for the future.
100 Mix Roundtable with RAK Ceramics
In partnership with RAK Ceramics, we discuss how to devise and deliver complete experiences and what it means to carry a concept through every facet of every space.
108 Mix Roundtable with The Collective With The Collective, we explore why the future of sustainability means thinking outside of the box.
118 Milan Design Week 2025
Back for its 63rd edition, we compile the ultimate guide to help you get the most out of Milan Design Week 2025.
132 Clerkenwell Design Week2025 Clerkenwell Design Week returns for 2025, with a new programme of activations and product launches, highlighted in our comprehensive guide.
144 Mix Talking Point
On the centenary of the design movement, we look back on Art Deco’s influential legacy and enduring relevance.
150 Building Narrative
Co-founder and CEO of art agency Artiq, Patrick McCrae on how the imagination is one of the greatest human characteristics.
152 Material Matters
Basel-based interior designer Luiz Albisser shares which futureforward materials delineate his current practice.
154 Material Innovation Independent British brand RESILICA® gives post-consumer and post-industrial glass a new lease of life.
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The cover Designer Manufacturer
Get in touch
Managing Editor
Harry McKinley harry@mixinteriors.com
Deputy Editor
Chloé Petersen Snell chloe@mixinteriors.com
Editorial & Social Executive
Charlotte Slinger charlotte@mixinteriors.com
Editorial Assistant
Ellie Foster ellie@mixinteriors.com
Managing Director Leon March leon@mixinteriors.com
Marketing Manager Paul Appleby paul@mixinteriors.com
Head of Operations Lisa Jackson lisa@mixinteriors.com
Advertising & Events Operations Manager Maria Da Silva maria@mixinteriors.com
Art Director Marçal Prats marcal@mixinteriors.com
Founding publisher Henry Pugh
Beauty depends on perspective. Note Design Studio highlighted stone’s natural complexity, o.ering a new interpretation: a plane and its shadow gives a sense of scale to the at surface; the marble’s veins and organic shapes now transformed to a rich landscape of mountains and frozen lakes.
notedesignstudio.se
Maximus Grey Antique is a collection of porcelain tiles from RAK Ceramics that embraces the art of mix and match, featuring a harmonious blend of marble, stone, and cement. 0e combination creates striking surfaces that capture the natural beauty of geological formations.
rakceramics.com
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In the year +000, the ‘Millennium Dome’ was London’s most daring (and controversial) piece of new architecture, even as Tate Modern was unveiled a little further up the 0ames; in New York, the Philippe Starckdesigned Hudson Hotel opened its doors, helping to de1ne what would become the early noughties’ characteristic blend of whimsy and minimalism; and Google moved into its Mountain View o2ces, raising eyebrows with its then-radical combination of open seating, breakout zones and communityfostering courtyards, laying out a new vision for workplace design. Feeling nostalgic? Well, consider then that the iPod still wasn’t commercially available, London’s Gherkin had only just broken ground and Tom Dixon (featured later this issue, p3+) was still ruling the roost at Habitat, not founding his own studio until two years later. It was a di.erent time. It was also the year in which Mix Interiors was launched.
Now, 25 years later, we prepare to celebrate a landmark year, alongside a broader marking of a quarter century of design – a period that has seen immense change and radical innovation. It’s a theme we’ll carry forward throughout +0+', across our portfolio – at design’s biggest nights, Mix Awards and Mix
Awards North, online, on our social channels and here, in print, with something a little more overtly anniversary-related still to come later this year.
Yet while this isn’t an anniversary issue, per se, it is one of our most global, in particular making its way to Milan for the city’s design week and Salone del Mobile. 0ere’s a guide to the fair’s most important installations, activations, conversations and product inspirations on p%%), alongside a guide to Clerkenwell Design Week, p%3+, kicking o. later in May. 0ese two tentpoles in the design calendar are not only opportunities for the international creative community to coalesce, they are barometers of the social mood. Stroll the streets and stands of Milan, or the showrooms of Clerkenwell, and you’ll leave with a sense of society, today: the spaces created and products showcased a re ection of our preoccupations, challenges and, indeed, aspirations. What will stick is for history to decide, but this year I’ll be asking myself, what will we still be talking about in +0'0? As for anther anniversary, ‘Mix at 50’ has also has certain ring to it, don’t you think?
Harry McKinley Managing Editor
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The biggest fan
Following a starchitect-studded international competition, Daniel Libeskind has been selected to realise the agship building for Paris’ Léon Blum district, adjacent to the future Line 15 of the Grand Paris Express – with La Compagnie de Phalsbourg as the developer. 0e jury unanimously agreed that Studio Libeskind embodied boldness and commitment to sustainable and socially sensitive construction, attributes which have been at the core of the 1rm’s philosophy since %()(
With aesthetics that could be likened to that of a splayed fan, Libeskind’s proposal emphasises architectural innovation in the way asymmetric components dynamically ‘collide’ at both ground
level and elevation. All integrated within a 20,000 sq m architectural ensemble, the new landmark building will have environmental stewardship and the improvement of the residents’ living conditions at the heart of the design; its unfurling plant-covered forms comprising o2ce spaces, apartments (with one-third designated as social housing), a hotel, retail outlets and a sports hall.
Although the crowning jewel, Fan D’Issy will represent just one part of a wider urban development as the commune of Issy-les-Moulineaux readies itself for a comprehensive transformation. Central to this change is Issy station, which will soon be connected to the Grand Paris Express. Posing as a catalyst for cultural
enrichment and economic growth, this signi1cant feat of infrastructure aims to improve mobility for residents and workers, as well as exemplify the capital’s commitment to ambitious and sustainable urban planning.
In partnership with Seine Ouest Habitat et Patrimoine (SOHP) and the SPL Seine Ouest Aménagement, the municipality plans to initiate this project once the Grand Paris station construction is completed. 0e implementation will involve a collaborative approach with the local community to ensure seamless integration into the existing urban fabric.
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COME & PLAY
NEW carpet collection, Pattern Play, where you make the rules. LAUNCHING SPRING 2025
Fit to size
Taking its name from Le Corbusier’s eponymous cabin in the Côte d'Azur, Rotterdam’s answer to 0e Cabanon is the smallest luxury apartment on record and has been designed by the same architects who will use it: Beatriz Ramo of STAR strategies + architecture and BOARD (Bureau of Architecture, Research, and Design) Founder, Bernd Upmeyer.
Located in an attic cavity of a 1950s residential block, the 6.89 sq m residence is cut into four zones, each o.ering its own distinctive aesthetic and ambience, thanks to a sharp contrast of materials such as Chinese black marble and turquoise mosaic. 0ough custom-made FF&E seems an obvious solution to tight oorplates, the duo instead shaped the apartment to 1t the dimensions of standard, a.ordable products: the bedroom designed with a speci1c mattress in mind, the spa according to the whirlpool bathtub length, kitchen tops dictated by the breadth of the mini fridge and so on.
The concept behind The Cabanon emerged after working on a research project for the French government, conceived by the couple in 2012, which explored the idea of 'maximising space' through the principle of sharing. For the Cabanon, STAR and BOARD, took an opposite path and experimented on reduction. Their findings, a deep dive into how we use small spaces, offers a guiding reference not only for residential designers but also for those working with clients on restrictive office layouts.
Innovators of research-backed spatial design, STAR and BOARD, challenge the notion that shaving square footage is the only method of a.ordable renovation. Rather, they propose that extrapolating parts of their holistic approach out to other types of projects, could transform micro-1touts with multiple occupants into something functional, stylish and economical in equal measure.
Constructed on the plot of a former retail park, Manchester Digital Campus will serve as a new cutting-edge technology hub for the city, following approval from Manchester City Council’s planning committee in February. A major government o2ce complex, Government Property Agency (GPA) acquired the 1ve-acre brown1eld site in Ancoats in May of last year and have since collaborated with the local authority to culminate a parallel proposal for a 1rst-ofits-kind workplace and new public park. 0e campus, designed by AtkinsRéalis, will bring together several civil service departments with a focus around digital skills, creating approximately 7,000 employment opportunities in the process.
As part of their Strategic Regeneration Framework, the council and the GPA hosted a public consultation to gather insights on how the new development could best serve residents, businesses and other stakeholders. 0e feedback collected played a crucial role in shaping their shared vision, to put to good use what is currently an unsightly wasteland central to one of the city’s most vibrant areas.
Landscape architecture practice, Planit-IE, has been appointed to integrate the new campus with its surroundings through biophilic design and urban greening. 0e goal is to enhance access to quality green space in Manchester city centre while expanding on the existing landscaping of Cotton Field Park, adjacent to New Islington Marina. A central lawn and plaza will create
a green bu.er along Great Ancoats Street, with tiered gardens navigating the site's varying levels. Play areas, pathways and tranquil seating areas will o.er a peaceful retreat from the noise of the city, whilst new walking and cycling routes will connect to wider travel investments in Ancoats, the Northern Quarter and the Etihad Campus.
0e new digital campus and its adjoining park will highlight two of Manchester’s de1ning characteristics: its innovative, industrious spirit and its identity as a walkable city. 0e development is set to further bolster the city's reputation as one of the fastest-growing tech and digital hubs in the UK with an expanding international presence.
atkinsrealis.com
Work in progress
Formwork, sca.olding, blocking and paving: materials from the construction process have historically only served to facilitate the creation of a fully realised architectural project, not been part of the end result.
Founded in London, and now with o2ces in Beijing and Shanghai, SpActrum Architects have made a strategic e.ort to change this. Travelling across China to the sites of its large-scale commercial projects, the team at SpActrum have spent the last six years taking stock of construction phase design, with a view to bring the intermediary forms and raw materials they have observed into the everyday consciousness of architects and designers.
Led by Design Principal Yan Pan, SpActrum has recently unveiled a new Shanghai-based studio and exhibition space, where all FF&E are crafted from retired construction tools and materials that are typically hidden within a building's structure. Salvaged modelling apparatus for concrete shaping, typically made of metal or plastic, has been reborn as furniture stands, refractory bricks as desk legs, and burlap sacks –originally used for transporting goods to and from site – have been sewn into screens and spatial dividers. Two work benches, crafted from 1re-resistant GMT pallets, have been resin-coated to take on a marblelike appearance and, though their function is to display the practice’s latest projects to the public, they also open a dialogue about the sustainable ways in which tools and materials from construction can be incorporated into the spaces.
spectrum.com
Fruits of our labour
In a true coming together of creative minds, TECHNOCrafts, LAMÁQUINA and surface designer Micaela Clubourg have developed Alwadiya’s 0e Living Pots – a material experiment with place-centric resource, craft and biotechnology at its core.
Displayed as part of the Raw to Revival exhibition at this year’s AlUla Arts Festival, the biophilic planters, dreamt up by girls' school Madrasat Addeera and Creativedialogue, are an ode to the inevitable cycle of decay and ruination in a region where ancient landmarks are painstakingly preserved as markers of time. Curated by Samer Yamani, Madrasat
Addeera’s programme pairs the students and local artisans with international designers to develop new applications of Saudi Arabian traditions.
Harvested from a brew of local ora and citrus trees, a biophilic slurry, tinged with the natural dyes of fruits and herbs, has been combined with organic linen before being ran through a specialist 3D-print process by LAMÁQUINA. 0e result: a stacked design that nods to the interconnected layers of trees, more speci1cally, the trunks of the date palms native to AlUla. Designed to decompose into the land it came from, the cellulose is also infused with PURE.TECH – a CO2 degrading complex which absorbs and breaks down atmospheric carbon during the vessel’s lifespan.
0e Living Pots, created through the combined e.orts of product designers, art educators and textile technologists, directly respond to the ancient city’s heritage, whilst embracing the latest in digital innovation – opening up a conversation about the built environment and the potential future role of biomaterials in its construction.
lamaquina.io
Things I've learnt
Jacu Strauss is the creative director of Lore Group, where he and his team are behind the redesign and launch of One Hundred Shoreditch, as well as the award-winning Dutch hotel, Pulitzer Amsterdam, and boutique hotel Riggs Washington DC. He is currently working on the redesign of elements of London’s Sea Containers, as well as his first hotel in New York, Hotel Park Ave.
loregroup.com
Style is having a personality. I believe style can be bought, but you cannot buy a personality. 0 e most stylish people are those who exude their personality, and the same is true of their interiors. Personalities are highly varied which makes for a richer, more diverse and interesting world. I 1 nd that personality is often removed or placed down the pecking order from the design perspective and the results are almost always mediocre and rather hard to relate to.
Everything has a place.
0is is my overall life motto and should be on my tombstone one day – until then it’s beautifully embroidered on a gorgeous Lingua Franca sweater! Good design puts personal taste levels aside and focuses on the context and what is right for the project. Not liking yellow, for example, does not mean yellow isn’t right for a particular interior. Sometimes it is worth learning how to love something too.
Design is half art and half science.
Design is not just instinctive, there is a proper A-Z approach required too. 0e most important part of this process is at the start: set up a carefully crafted and agreed brief, or charter as I call it. 0is will make decision making between two right options easier throughout the project, when you refer back to this brief and the overall aim.
There is perfection in imperfection.
0is is what humanises design and makes it timeless. It is evident in more historic architecture and how it is still more appealing than perfect but soulless examples. Like us, no one is perfect but that is what makes us interesting, and the same applies to design.
Find inspiration in everything. My inspiration often comes from seemingly irrelevant sources, but that is far from the truth. Design and art are fundamentally about people – a re ection on how we live, play and love. Creativity is about 1nding solutions and you often need to think outside the box. 0is also helps avoid a ‘trend only focused’ way of designing and the results are more authentic and delightful – plus long lasting and classic.
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The height of design
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@blondcreative
The item REX potato peeler.
The why
Made from one material, steel, using one or two processes, the REX potato peeler is extremely hardwearing and long-lasting. Importantly, it's a monomaterial – there is not one note of plastic in the design, or even the packaging. So, at the end of its very long life, it can be fully recycled. What's so brilliant about the object is through its pragmatism, cost-e.ectiveness and durability, it has an inherent beauty – a kind of beauty that can only be achieved with honesty, rationalism and reductionism.
The inspiration
At BLOND, we lean into restrictions. Restrictions to a lot of people seem to be a negative challenge. For me, it's the opposite – when there are no restrictions, it’s like staring at a blank canvas. I see restrictions as guard rails and guides that actually make the job more enjoyable and delightful. 0e peeler has been designed by embracing its restrictions (particularly construction, ergonomics and robustness). 0is is something that we do at BLOND with every project, not only do we lean into it, we celebrate restrictions.
The impact
It's the archetypal potato peeler (1rst patented in %(!,). Every design that has followed has tried to do something similar, and I would argue that no one has done it quite as well – often introducing some kind of plastic somewhere or complicating it. 0is is one of those objects that is like the umbrella; it's impossible to redesign because it was so perfectly designed in the 1rst place.
The personal connection
From a design perspective, while it's not at the forefront of my mind (I’m not thinking about potato peelers day-today in the studio), if someone asks me for a reference for the ‘perfect’ design, this (alongside a few other pieces) is the 1rst item to pop into my mind. I think it has always been a reference point for simplicity and design rationalism. Over my career, it has been referenced to in uence some design decisions, particularly when I am thinking about how to celebrate restrictions and reduce something to its most simple format.
James Melia is founder and creative director of Londonbased industrial design agency BLOND – recently ranked as the number one design consultancy in Europe and the US by the Red Dot Design Awards.
We need a transparency revolution
A few decades ago, buying food was a simple but uninformed act. No one really knew what was in their meals, where ingredients came from or how they were processed. 0en nutritional labels became the norm and, with them, consumer expectations changed. We started demanding more transparency — not just about calories, but about additives, allergens and long-term health impacts. Some companies resisted, but those that embraced it thrived.
0e built environment is overdue for the same shift.
We spend most of our lives indoors — at home, at work, in schools, hospitals and public spaces. Yet, if you wanted to know how a building a.ects your health and wellbeing, you’d struggle to 1nd clear answers. Does the air inside contain pollutants from poor ventilation or o.-gassing materials? Are the lighting and acoustics designed to support focus and rest, or do they contribute to stress and fatigue? What about access to daylight, green spaces or accessible design? 0ese are things that impact us daily, but are rarely disclosed, let alone prioritised.
Anyone who has worked in an arti1cially lit o2ce or spent a day in a poorly ventilated meeting room knows the toll an unhealthy space can take. Studies have linked poor indoor air quality to cognitive decline, fatigue and even respiratory illnesses. Noise pollution in buildings has been shown to raise stress levels, while lack of access to natural light can disrupt circadian rhythms, a.ecting sleep and mood. 0ese aren’t abstract concerns, they have real consequences for health, productivity and overall wellbeing.
0is is where leadership matters. While government regulations can set minimum health and safety standards, the most forward-thinking companies won’t wait to be told. 0ey’ll recognise that transparency isn’t just about compliance, it’s about trust.
Imagine if developers openly shared data on indoor air quality, noise levels or the health e.ects of their designs; if landlords and workplaces disclosed the impact of their spaces, just as food brands now highlight nutritional value; if architects and planners are actively commissioned to prioritise
human wellbeing as a measurable outcome, not just an abstract design principle.
0e demand for transparency isn’t limited to food. Other industries have faced similar reckonings. 0e beauty industry has had to disclose chemical ingredients in products. Fashion brands have been pressured to reveal their supply chain ethics. 0e built environment should be no di.erent — especially because of its huge impact on human and ecological health.
Some of this change will require regulation. Just as food safety laws protect consumers from harm, building standards should ensure that built environments don’t quietly damage our health. But beyond legal mandates, the real shift will come from those who see transparency as a competitive advantage. 0e companies that lead on this will stand out, not just to tenants and buyers, but to an increasingly healthconscious public.
We’ve come to expect clear labelling on the food we eat. It’s time we expected the same from the spaces in which we live, work and aspire to thrive.
Itai Palti is a practicing architect, researcher, and multidisciplinary artist focusing on the relationship between people and place. He is director of Hume, a science-informed
Words: Harry McKinley
Photography: cou esy of Tom Dixon
What,s in a name?
Tom Dixon on motorbike accidents, an alternative life as a musician and why he wants his products to feel like a child’s drawing.
I’m early for my meeting with Tom Dixon, at the brand’s home in Kings Cross. Here, the majestic Coal O ce building houses the Tom Dixon o ces, showroom, agship shop and a restaurant – kitted out in the studio’s wares and overseen by star-chef, Asaf Granit. e complex, built in 1851, was once a base for coal trade workers, curving alongside a sweep of the Regents Canal.
Naturally, I’m in the shop, mulling over candles and wondering if there’s time for a hasty sale purchase before Dixon’s arrival; the sofas, chairs, tables and lamps, not
something one buys on impulse. ere are immaculately styled vignettes with swish barware. A new outdoor collection occupies a stretch of oorspace, styled with a polished cafetière – atop a glossy tray that echoes the graduated curves of the table and chairs. Scan the space and it’s possible to imagine a whole world rendered in Tom Dixon, the man and the brand a household name. Even if he were to call the whole thing quits tomorrow, his status as one of Britain’s most successful and in uential designers is forever anchored in history.
“& shifted organica''( into design without ever rea'ising & was a designer.”
When Dixon arrives, with polite punctuality, it’s clear that he’s a 1gure in demand. Time in the calendar has been set aside for our chat, but a ceaselessly vibrating phone suggests calls that will need to be returned – still answering questions from a tracking team member until he’s comfortably seated and ready to turn his attention to more re ective fare.
Impressively, Dixon was awarded an OBE before he’d even founded his eponymous brand (by Her Majesty the Queen, in +00%), which goes some way to quantifying the impact he’s had on this
country’s design scene. Yet his success was, and is, an anomaly. With no formal design training, he can hardly be held up as a poster boy for the UK’s arts universities. Instead, he’s an example of the rare few who ‘make it’, despite traveling an unorthodox path to success.
“I was fortunate and unfortunate to be in comprehensive education in the 70s,” he describes, a student of Holland Park School. It was one of the 1rst generation of purpose-built comprehensives and nicknamed the ‘Socialist Eton’, as a school of choice for moneyed leftist families.
“It had an amazing series of workshops; good ceramics, woodwork and metalwork departments; there was photography and life drawing. So I got quite a lot of what you'd get on a foundation course, I suppose, but I really resent not having been taught English or maths properly.”
Dixon would 1nd refuge from bullying in the pottery department and get an A Level in the subject. “But I don't have anything else to my name in terms of credentials,” he jokes, with the candour of someone who no longer has anything to prove.
He did start a course at Chelsea School of Art, but was only six months in when he was involved in a motorbike accident, broke his leg and decided not to go back. Instead, in something of a radical pivot, he poured his energy into a suddenly burgeoning music career – a band he was in having signed a record deal. For a couple of years he would tour, even supporting 0e Clash on Broadway.
“Actually getting a record deal was probably the worst thing, because we ended up as just a support act, and we weren't that good anyway,” he says, deadpan. “But then I had a second motorbike accident, broke my arm, and was replaced by a much better bass player, who’s now touring with Pink Floyd and has worked with Madonna and Bryan Ferry; so I guess that could have been my destiny.”
0e period did spark, in Dixon, an a2nity for metal however – the material, not the music. He describes getting into melding as performance, part of the band’s act at the Gargoyle Club in London’s Soho, where they’d take to the stage at 10:30, after “the strippers.”
“I always had a collection of vintage motorbikes and so I learnt how to weld in a friend's restoration garage in Clapham,” he details. “I found my world in the 1re and the mask, in the melting metal. It was a whole universe of possibilities which suited my lack
of attention span. I do get bored quite easily. But I started making method work and things for my own pleasure. And then people started buying them. So I shifted organically into design without ever realising I was a designer.”
He doesn’t see his work quite as craft then, describing himself as “a terrible welder”, someone working more like a sculptor with “found objects”, seeing in them the arm of a chair or the frame of a mirror. “I was making enough money doing clubs at night to not have to worry too much about making money from design,” he
Image on previous page: Tom Dixon
Left: Dixon in the Kings Cross store
Right: Lighting collections by Tom Dixon
says. “What I learnt from that was contact with the customer and cash, which sort of validated my musings. If you go to art school you don't really get that experience until four years after you graduate; people actually buying your stu.. Without that, I wouldn't have been a designer.”
It was arguably Dixon’s knack for understanding what people want, what they’d be willing to fork out for, that landed him a role at Habitat – 1rst as head of design, then quickly creative director. At the time the retailer was owned by Ikea, with stores across the UK, and though he doesn’t feel his tenure at the helm taught him anything about design, it did provide an education on commerce and how to “make a million pounds out of a curly piece of bamboo stick”.
“It was kind of liberating not to have to run my own business, but I wasn't very good at it,” he jokes. “I was making it all up as I was going along [and I think] Habitat were interested in me because I had this kind of anti-product experience, but also had a couple of hit products already that people saw in design magazines. I didn’t actually design for 10 years there though, employing and commissioning other designers. So for me it was a university for everything else – the sourcing, branding, developing categories, the retail aspect.” In 2002, Dixon launched his own brand, drawing on that experience, but also motivated by a desire to “design again”.
Tom Dixon
I’m coming to realise that Dixon isn’t someone for lofty expositions. Ask some designers about their vision, especially those of Dixon’s international stature, and you might expect a lengthy, pretenceladen speech on how they plan to change the world through the use of the colour lilac. Dixon’s philosophy, instead, feels much more grounded – more honest, even. He’s open about the fact that if he has to put a label on his work, some catch-all descriptor, it’s only because that’s frequently what’s asked of him, not because he has a puritanical manifesto or strict aesthetic style of his own.
“If there’s a thread, it’s an interest in materiality and manufacturing techniques,” he describes, when pushed. “But if I were to try and 1nd a couple of words, I've come up with this idea of expressive minimalism; more, how do you reduce an object to only have the essence of its functionality, rather than trying to add frills and buttons or, conversely, making it so minimal that you can't recognise the function anymore? 0e trick is almost not to design so much. I like things to be recognisable, almost like a child's drawing of a lamp or a glass.” Still, he riles against the idea that his work must 1t neatly into a box. “Because then you end up with people saying, ‘oh that's not very Tom Dixon’, and that makes me bristle.”
0ere’s undoubtedly a purposefulness to Tom Dixon products also. Regardless of their money-making potential, I don’t spot any bamboo sticks or generic framed prints vying for attention among the furniture and glassware. Even the more decorative pieces aren’t just emptycalorie shelf 1llers – a stack of boldly patterned stone shapes serving as book ends, or a terrazzo-style cylinder a candle holder. Almost a quarter of a century since the brand was founded, it’s di2cult to pinpoint just one or two signature products – even if the Melt lighting range, evoking molten glass, remains a bestseller. In that sense, Tom Dixon is perhaps best viewed as an anthology of themes and ideas.
“I get bored faster than my audience does,” Dixon says, when I ask what he thinks has kept the brand relevant all these years, a great British success story. “Nobody else is really doing what we do, because it’s just quite di2cult –because of all the di.erent typologies and materials. Most of the other brands are using 40 di.erent designers, some of them long dead and some of them fresher than me. And it's like, how do you make this jumble sale of di.erent ideas into something recognisable? We have [the bene1t of] a singular message.”
Below: Dixon with Melt table lamp
Right: Melt LED cone Fat Floor Lamp in situ
Britishness is part of that message, of course, something Dixon sees as an opportunity to set the brand apart: “It’s a kind of shorthand; a ‘don’t give a fuck’ attitude to design, where, like a Land Rover, things look better with age or when they’ve been knocked around a bit. 0ere hasn't been a contemporary furniture scene at all here really, and so the codes that we use are more about the Industrial Revolution and the idea that we were always interested in manufacturing.”
Sustainability is a theme, something that’s mattered to Dixon long before it was the omnipresent topic it is today – raised by activist parents on a diet of radical polemics, with a father who refused to travel by plane for environmental reasons. He once oated the idea of adding a thousand-year warranty to some of his products, but can’t get the powers that be onside: “I wish the business people here would have the balls to just stamp it on a few of our things.” He also believes
governments should step in and legislate, taxing industries, including design, into compliance. 0ey’re noble ideals, but how does Dixon square this with design remaining accessible, a.ordable even, as was part of the mission at Habitat?
“IKEA is de1nitely democratic, Habitat was a step above that and then there’s luxury, where things are really crafted by hand. I've worked at all those levels, and there's no reason for design to be una.ordable at all anymore. You might have to pay more for craft because there’s labour involved, but it’s an interesting moment right now where, with AI, designers in principle have the tools at their disposal to optimize their designs – in terms of the amount of material used, the potential to make things closer to the consumer, using less travel and all the rest. 0at isn’t really the problem necessarily, the problem is this constant push to, you know, sell more and to grow the whole time.”
0roughout the conversation, Dixon draws parallels between the fashion industry and product design. 0e former, he argues, is much better at integrating image, branding, communications and, ultimately, product into something consistent; better at distilling the essence of a name down into something concrete and tangible. At one point he jokes that furniture designers, unlike their fashion counterparts, will never provoke a queue down the street or outside a hotel room. I’m not sure I agree. Our conversation drawn to a close, and Dixon immediately back on the phone, a pair of shoppers catch my eye. One whispers to the other, eyes trained on Dixon, a icker of recognition. It might not be a queue down the street, but there’s some star power there. Dixon might not think of his brand as a Gucci or a Burberry, nonetheless there’s a draw in his name. As I pack up to leave, I have an extra bag in tow. Inevitably, I bought the Tom Dixon candles.
Words: Ch'oé
Petersen Sne''
Photograph(: Dario Garofa'o, Laura Fantacuzzi, Maxime Ga'ati
Fourcade
Mu'ti-discip'inar( designer Pao'a Navone on cra), curiosit( and finding beaut( in the ordinar(.
0ere is no dearth of adjectives used to describe Paola Navone and her work –volcanic, bold, eclectic, whimsical, global – and yet the polymath designer is hard to pin down, her distinctive style layered and full of spirit across an extensive career designing for some of the world’s biggest brands in unexpected ways, from Gervasoni and Cappellini to Poliform and Baxter, and on international projects from Italy and France to the USA and 0ailand. Navone has split her time between Asia and Europe since the 80s, her work still re ecting the craftsmanship of the two continents and the eclecticism that happens when cultures collide. 0ere is a nomadic, o3eat quality to her work,
inspiration coming from everywhere and everything. “My brain is a travelling tool,” she explains. “I can travel to the supermarket in the same way I can go to Japan; I’m always looking, looking, looking. Everything becomes inspiration eventually, but it’s not intentional. When I need to work, they come out, but it isn’t systematic or planned, it’s very natural.”
Similarly, and like many great journeys, Navone’s start in the world of design was a serendipitous one – “accident or luck?” she ponders – initially pursuing studies in architecture in her birthplace Turin and graduating in %(,3 to begin her real passion, travelling.
Photography: courtesy of Baxter
“0e only dream I had as a child was to travel and discover the world,” she says, gesticulating e.ortlessly with pencil in hand. “I’ve always been curious and it led me to discover di.erent groups of people around the world; architects by education, but more like artists, producing ideas, objects, performances, events, dreams. I packed everything I learnt into a thesis and o.ered it as my 1nal project for my degree – and then I left for Africa,” she laughs. 0e thesis, Architettura Radicale (Radical Architecture) explored the universe of avant-garde collectives, picked up by Alessandro Mendini, then editor of Italian design publication Casabella, who o.ered to publish the work alongside a job at the magazine in Milan. “He called me at seven o’clock in the morning and I said, ‘wow, okay, I have nothing to do, I’ll come to Milano.’ And I’m still here.”
Joining the experimental Studio Alchimia, an avant-garde group founded in Milan in %(,&, and after living and working
across continents for a couple of decades, Navone eventually founded OTTO Studio in +000 0e Milan-based design studio she runs with Gian Paolo Venier, Cristina Pettenuzzo and Domenico Diego is divided into two distinct areas, product design and interior design, each with a unique work ow and creative approach.
0e studio’s product design process is centred on strong, iterative relationships; learning what is feasible and what expertise is available, and then pushing the manufacturer to their limits – the result a collaborative exchange of ideas and, ultimately, compromise on Navone’s side. “I extract as much information as I can and all the possibilities they have, and the design evolves. Nothing comes out exactly how I design it.” Notable pieces include the iconic white Ghost sofa for Gervasoni and the Chester Moon sofa for Baxter, the latter a very Navone-esque blend of tradition and innovation.
0e interiors side Navone compares to 1lmmaking or writing, where every project tells a di.erent story. “I don’t like to repeat ‘Paola Navone’ everywhere – it’s boring,” she waves an expressive hand. “Every project is completely di.erent to the next one. [With interiors] I’m more free and able to put in a lot more fantasy and feeling. When you write a movie, it’s about one subject, you deliver it and then you create another story.”
De1ning this to the fullest extent, at 25hours Piazza San Paolino in Florence, Navone and the OTTO team were inspired by the classic Italian poem Dante’s Divine Comedy, the whimsical spaces following Dante’s travels through Hell, Purgatory and Heaven. Housed in an ancient former monastery, scenes of heaven and hell alternate in the di.erent private and communal spaces, deep reds for hell and whites and greens for heaven. At the centre of the building, the main restaurant sits beneath a domed glass cupola, 1lled with
towering greenery – some real, some fantastical in both colour and proportion. Vintage furniture and treasures collected from local markets and objects created by international artisans 1ll the space, each room a space to be explored and experienced, one-of-a-kind.
Indeed, Navone describes herself as a treasure hunter, bringing together objects and people from around the world who might not have naturally connected, leading to unexpected and exciting outcomes. “I try to put inside my ‘movie’ an interesting producer: sometimes that’s small crafts from the other side of the world. I have one or two people who create special things for me for over 35 years –things that you can’t buy in a market. It’s what makes each project unique.”
Speaking in a broad Italian accent, Navone is instantly welcoming and larger than life; bright white statement glasses and oversized polka dots against a back
Left: 25hours Piazza San Paolino games room and lounge
Below: Inferno Room at 25hours Piazza San Paolino
Right:
Bar area at 25hours
Piazza San Paolino
“& don’t 'ike to repeat ‘Pao'a Navone’ ever(where –it’s boring.”
drop of colourful ceiling-high bookshelves. It’s surprising then, initially, to hear her design ethos captured in a phrase she uses often, tham ma da – 0ai for ‘ordinary’ or ‘everyday’ – referencing her penchant for taking the ordinary and presenting it in a new or unexpected way. She picked up the expression while working on her 1rst ever hotel project for COMO in Phuket.
“Every single element – oors, walls, tiles, furniture, objects – had to be designed and made in 0ailand. I liked the challenge and was working in such a [culturally rich] country like 0ailand. I searched everywhere – galleries, shops, antique dealers. On site, the workers would always say ‘tham ma dai’ whenever I came to work. At 1rst I thought they meant ‘very good Italian architect,’” she laughs, “until a friend told me it meant ‘ordinary.’ 0ey were shocked because I used materials that they also used in their own houses and here they became spectacular. You can take something very small or simple and it can become extraordinary depending on the way you present it or put it together with other things. If you have a small item and you put a million of them together you have say, a wall, that is so impressive.”
0is proclivity for 1nding beauty in the everyday came into the spotlight at Milan Design Week +0+3; working with New York-based media company 0e Slowdown to present Take It Or Leave It, a lottery that o.ered visitors a unique chance to take away a piece of the designer’s vast collection of objects, for free – from souvenirs picked up in Asian markets to rare prototypes designed for big brands like Alessi. “It was my way of saying, we keep on talking about being sustainable but we keep on producing, producing, producing,” she details. “To be really honest, we should stop designing and stop producing, otherwise we talk but we don’t act!”
Curated at OTTO’s Milan studio, there were some strict rules: those wishing to be involved must pre-register and there were no re-draws (although probably a few trades): take it or leave it. Reactions varied – some take objects out of appreciation, others for memory, while a few declined. I wondered if it was
di2cult for Navone to part with so many meaningful belongings she has spent many decades collecting, but surprisingly, the designer doesn’t seem prone to nostalgia, always moving forward. “I have so many, and I need space for more. After the exhibiton 1,985 things were gone and can you believe my environment is still full of things now,” she laughs. “I could do another 10 exhibitions!”
After over 40 years of creating and dreaming, Navone shows no sign of slowing down, her excitement and joy for life palpable. 0e future looks intensely busy –a number of special, under-wraps projects and new furniture collections with Baxter, Exteta, Janus et Cie and an updated version of the classic Ghost chair for Gervasoni. Is there any advice she would give to those just starting out on their own 40-plus year adventure in design? “Be curious, be free and not obliged to create something that’s already there. Focus on what feels important and right for you.” In short, anything but ordinary.
Left: Turri Azul collection for Milan Design Week 2022 Centre: Retail space at COMO Orchard, Singapore
Right: Restaurant at COMO Le Montrachet
AI & colour: nuance between algorithms
Laura Perryman is a colour designer and forecaster with over 18 years of experience in CMF design across multiple industries. The author of The Colour Bible, she is interested in material and sensorial experiences of colour. She directs Colour of Saying, a UK-based colour and material futures consultancy.
colourofsaying.com @colour_of_saying
0ere is no denying that AI represents one of the biggest revolutions we will experience. However, our obsession with it as a new creative tool often swings between predictions of dystopia and utopia, creating distinct camps. As a colour and material designer and futurist, I am particularly interested in the nuances that exist between these extremes, especially regarding algorithms. Colour is personal and deeply subjective; what one person 1nds appealing may be o.-putting or unusable for another. Our individual preferences signi1cantly in uence why we choose certain colours, but could there be an approach that helps us select colours more e.ectively and for the greater good?
AI is increasingly playing a role in colour applications, providing tools for colour analysis, generating palettes based on speci1c moods or genres, and even colorising old photos. For designers, AI can automatically create harmonious colour palettes, while for individuals, AI-powered colour analysis can identify which colours best suit their skin tones, lifestyles and home interiors.
Instead of spending hours learning colour theory, users can rely on programmed rules to quickly generate harmonious palettes within seconds. 0is accelerates the colour
design process. However, one challenge of algorithmic colour generation is that it tends to o.er everyone similar options, potentially lacking a sense of personalisation. By not exploring colours by hand and by eye, we may lose the intuitive value that comes from this tactile experience.
On the general design front though, there are bene1ts. Digital design programs that use language prompts, along with extensive libraries of images, patterns and local materials — even those that incorporate algorithm-driven knowledge of manufacturing and sustainability — suggest that AI is already helping us generate outcomes that enhance design processes. If we can achieve these results faster, will it enable us to design more stu. ? Or will it improve the quality and relevance of our designs by tapping into pooled collective knowledge?
For example, Space10 utilized generative AI and ChatGPT to gather data points from agricultural residues, construction waste and manufacturing o.cuts, identifying locally available materials to design modest dinner plates. 0e project “Products of Place” uses AI to help designers create tableware from colours and materials that are more accessible in their
local regions. Imagine scaling this application to a city where user colour preferences could be compiled and aided by AI to generate a local community palette. 0is approach promotes sustainably better choices and I see it as a valuable enhancement — an additional team member contributing to a collective output. AI does not merely analyse data for words, it also engages with visuals, materials, artifacts and tools, uniting a rich tapestry of interconnected elements — much like our own brains.
For instance, Google’s Material 3, an open-source design system, collaborates with AI and user preferences, enabling designers at Google to create custom colours while respecting user choice. By employing AI to establish rules for accessible colours, Material's dynamic colour system automatically generates usable colours from pre-set rules. However, the starting point can derive from a user’s unique perspective, such as a favourite photograph or visual. Individual nuances are, indeed, possible.
To me, this approach seems intelligent, collaborative and community oriented. As Alan Turing said, “0e search for new techniques must be regarded as carried out by the human community as a whole, rather than by individuals.”
[Re] making history
A)er a devastating fire, Southwark’s Wa'worth Town Ha'' is sensitive'( rescued as a new workspace and communit( hub.
Words:
Chloé Petersen Snell
Photography: Chris Wharton
Freshly opened in spring +0+', Walworth Town Hall is the sort of project that many designers dream of, however daunting – a progressive and exible client, layers and layers of storied history and the ability to make a positive impact in the surrounding community. For architects Feix&Merlin, the project re ects a deeply personal approach, bringing warmth, inclusivity and authenticity in its design – where the importance of knowing that what not to do is often just as important as the big, bold moves.
In +0%3 a 1re moved swiftly through the building, causing signi1cant damage to the central structure and leading it to becoming part of Historic England's 'Heritage at Risk’ register. A landmark of its South London community since 1894, the building includes the former town hall and the adjoining former
Newington Library and Cuming Museum – now restored as a mix of public and private spaces, a public lobby and café, community hub and space for over 550 workers across a mix of exible o2ces and coworking desks.
Its 1fth workspace, Walworth Town Hall continues General Projects’ vision for “developing a new blueprint for bringing atrisk municipal landmarks back to life”, Frederic Schwass, chief development o2cer at General Projects explains, “underpinned by our belief that when it comes to existing buildings, restoration and reinvention should go handin-hand. From the start, we understood the importance of striking the right balance between celebrating the town hall’s inherited state and adapting it to modern use.”
Image on previous page: Soft seating in communal area
Above: External elevation of Walworth Town Hall
KITCHEN - RIVIÈRE ROSE
Left: Library and coworking space at
Above right: Fire damage is left uncovered throughout
Below right: Columns and tiling from original structure
Rather than take a completely restorative approach, Feix&Merlin took the design back just enough to celebrate the changing tides of history, a notion supported by both operator General Projects and Historic England, who the practice worked closely with. “Rather than erasing the past, we chose to reveal it, enabling visitors to experience the building’s rich narrative; its scars telling a story of resilience and transformation,” explains Feix&Merlin’s Tarek Merlin, director and co-founder. By exposing raw character, the newly rescued building feels inviting rather than cold or austere – the designers understanding the importance of creating environments where people feel welcome and included, especially in a space that was once central to the community. “We’ve allowed the building to really be exposed and vulnerable,” Merlin adds, “so when you walk in, you feel part of it.”
As such, to step into the hall today is to be awash in history, but with a new, welcoming layer. Cross laminated timber (CLT) is introduced throughout, including the public central lobby which features a new timber ceiling and columns – formerly a series of siloed and stu.y rooms post1re, now an open and bright workspace and café, accessible through a new entrance that opens up the side of the Hall from a communal square outside. Original wall positions throughout the building are marked on the oor with micro-cement and brass trim, and walls have been carefully re-rendered and re-painted below the dado-line, but left noticeably exposed above, their scars, pockmarks and traces of 1re damage serving as honest records of the building’s journey, Merlin details. “Central to our approach is a nuanced understanding of when to restore using traditional craftsmanship and when to step back, allowing the building to speak for itself, instead of recreating a pastiche of its former self.”
Walworth Town Hall
0e restoration followed a tiered approach: Category A rooms, the most historically signi1cant, were fully restored, while the majority Category B spaces retained original features, but were left in a "light touch" state, preserving historical evidence without full reconstruction. As we ascend a grand staircase to the 1rst oor coworking space, it feels like nothing has been touched, the %)(0s restored as new – a huge compliment for F&M, who removed layers of ugly carpeting throughout the building to reveal original terrazzo and stone slabs, and painstakingly recreated details in traditional lath and plaster. With surprising leniency from Historic England, this light-touch philosophy guided most of the design, allowing water- and 1re-damaged surfaces to remain visible where appropriate.
“We’ve a''owed the bui'ding to rea''( be exposed and vu'nerab'e, so when (ou wa'k in, (ou fee' pa of it.”
Merlin compares each room to its former ruin in a series of ‘before’ images, emphasising the level of intense work undertaken to restore and refresh. 0e main former council chamber, where the 1re began, is the most dramatic before and after, now a triple-height coworking space with new vaulted ceiling reconstructed in CLT, providing a modern adaptation of the original design. A raw metal balustrade lines a second oor gallery, featuring a contemporary version of the original’s pattern, highlighting the craftsmanship of the original design while demonstrating the coexistence of traditional and contemporary restoration philosophies, Merlin notes.
Connected to the main public lobby, the ground oor community centre is con1gured as a series of three exi-rooms to accommodate a range of uses, original oak ooring brought back to life. 0is space will be overseen by the Walworth Town Hall Community Centre Board, a not-for-pro1t organisation comprising local residents, the council and developer
representatives, and operated in collaboration with General Projects’ dedicated management arm, General People. As a former civic space in such a prominent position in the commmunity, gentri1cation was a key topic from the start of the project pitch in 2018; the commmunity resistant to the sale of a public space. Ultimately, Feix&Merlin’s pitch stood out from competitors by emphasisng the importance of the building’s community core – ensuring private access, operational separation and a diligent communal events schedule.
“Social value is central to the project,” Merlin concludes. “0e addition of public and community spaces throughout the ground oor means the building is now 44% more publicly accessible than before the 1re, and a new lift core ensures 70% of the building is accessible by lift. 0is project is the perfect example of balancing commercial viability while maintaining a valuable community space – something that wouldn’t have been possible if it were just a public hall.”
Above: Coworking space with conference-style tables
Dinner dance
Words:
Harr( McKin'e(
Photograph(: cou es( of Brad(Wi''iams
Galler( at The Savo( sees Brad(Wi''iams’ take on design in motion.
Even on a non-descript weekday in spring 0e Strand is lined with tourists, phones held aloft snapping at 1ve letters set against a gleaming stainless-steel backdrop. 0at the signage for 0e Savoy – created in %(+( by architect Howard Robertson – is worthy of 1lling camera rolls, alongside shots of Big Ben and Buckingham Palace, is testament to the status of this most illustrious of London hotels.
0e property opened in 1889 and its guestlist reads as a list of the most in uential and infamous 1gures of each cultural era – from Oscar Wilde to Judy Garland, Winston Churchill to Elizabeth
Taylor. 0ough undoubtedly a landmark, unlike many of the capital’s monuments it isn’t frozen in history; it is a living, breathing scene where guests mill around the lobby, take tea in its lounges and sweep in and out of its restaurants. It is a place where life and commerce still needs to unfold; today operated by Fairmont, a place that by necessity must every-sooften evolve to remain relevant.
0ere’s always been a splash of innovation in 0e Savoy’s winning recipe, of course –the 1rst hotel in Britain to feature electric lights throughout, and constant hot and cold running water in its guestrooms.
Today’s visitor is less likely to be astounded by such novelties, but a natty F&B revamp remains a crowd pleaser.
“I strive for our interiors to be steeped in a heritage and narrative, while being set 1rmly in the modern day,” he explains.
Above:
Recent years have seen the hotel’s other destination restaurants reimagined, but the latest space to be updated is the former 0ames Foyer – now rebranded as Gallery. It is, perhaps, that trickiest of hotel venues, needing to accommodate breakfast in the morning, afternoon tea and lunch, plus dinner and cocktails in the evening. To turn the old cliché on its head, it must be a Jack of all trades, and a master of them all.
0e Savoy turned to BradyWilliams, and its hospitality lead Shayne Brady, to captain the repositioning and redesign – Gallery having to serve as the ‘beating heart’ of the hotel.
“0e Savoy is an iconic grand dame on the world stage and we were able to delve into the archive to create something that is appropriate and in keeping with the hotel, while ensuring it has a modernity that attracts a new clientele as it embarks on the next chapter in its storied history.”
0at meant, initially, sweeping away the elements that might be more at home in a sepia-tinged past: gone the vaguely Victorian ‘birdcage’ that once dominated the centre of the space, the fussily patterned carpet and the ornate, Frenchstyle chairs with their upholstered arm rests and gilded carved wood.
Image on previous page: Murals of dancers at Gallery
The main dining room walkway at Gallery
“&nspired b( traditiona' Art Deco proportions, but modernised through materia'it(.”
Left: Soft seating
Center: The bar area with high stools
Right: View from staircase on to dining and bar area
A new design concept is rooted in dance, speci1cally inspired by the tale of a daring young couple who, in 1912, stood up during a favoured tune to shake a leg in the gap between tables. It’s said this act of unbridled frivolity launched the tradition of dinner dance.
“0rough the course of conceptualising the design, I struggled with the idea of simply painting the beautiful heritage panels in a traditional colour palette,” Brady explains. “Inspired by the couple, I had a brainwave [an idea in the shower, more to the point] of painting silhouettes of previous dances across the panels.”
0e resulting motif, in a subtle palette of sienna, blush pink and taupe, suggests a shadow of a former time; an echo of the past and a reminder that history is infused into 0e Savoy’s walls.
0is colour palette – consistent and determined – is deployed throughout, including with the furnishings, all of which were produced bespoke for Gallery, “inspired by traditional Art Deco proportions, but modernised through materiality,” continues Brady.
“An example of this is the dark burl timber, which is synonymous with 0e Savoy. Within Gallery, this has been implemented in a modern pale tone to create what I feel is a more contemporary, and even youthful, aesthetic.” Similarly, Dedar fabric on the sofas nods to traditional patterns seen elsewhere in the hotel, now rendered in a more streamlined form; less ostentatious, but without slipping into anything so unSavoy as austerity.
0ough the space, with its grand atrium and handsome cornicing, is obviously listed, Brady was able to fundamentally change its ow without disrupting the fabric of the building – something English Heritage, who had some oversight on the project, would not have taken kindly to. 0e 0ames Foyer, and now Gallery, was always by necessity a through-space, so instead of dancing around that, or seeing it as a constraint, Brady leant into it. “I just thought, if everyone walks through, let’s give them a catwalk!” he says. Now, a polished strip guides guests to Gordon Ramsay’s River Restaurant and the adjacent Beaufort Bar, all without “breaking the ambience or atmosphere we’ve created in Gallery. If anything, this new design evokes more of a social members club feel; a space that one could linger in through the day, therefore re-establishing itself as a
perfect space for hotel guests and visitors alike,” Brady explains. At the end of the runway, not a photographers pit, but the cocktail bar – with decorative sculptures that suggest human movement as mesmerizing swirls of water.
0e room was also pulled forward to the column line, with replica columns introduced to ensure symmetry; a new reception point partitioned o. at the entry to create an altered centre point for the room; and gates added at the rear to demark Gallery from the entrances to River and the Beaufort Bar. 0at the gates look as though they’ve always been there, is demonstration of how sensitively Brady approached the design. “Overall it really speaks to our process as a studio,” he explains. “As I like to say, nothing should scream for attention, but everything should bear scrutiny.”
Below left: Lighting design details around booth seating
Below right:
The newlyintroduced cast iron gates
Words: Char'otte S'inger
Photograph(: Nick Kane, Peter Cook and Peter Ma''o(
Open door policy
A decade in the making, Dub'in firm O’Donne'' + Tuome( brings industria' architecture to London’s cu'ture-rich East Bank with Sadler's Wells East.
Rubbing shoulders with a roster of prestigious institutions including BBC Music Studios, UCL East and UAL’s London College of Fashion, a new building has joined the expansive skyline of London’s East Bank development. Unashamedly industrial in style and distinguished by its sawtooth silhouette, this red-brick monolith is home to Sadler’s Wells East, a fourth location for the renowned arts school, set amidst Queen Elizabeth Olympic Park and the sweeping, wavelike roof of the London Aquatics Centre.
Commissioning and producing more dance than any other organisation in the world, Sadler’s Wells has been a home for the arts for over three hundred years and is credited as the birthplace of the Royal Ballet, Birmingham Royal Ballet and English National Opera. Continuing this heritage, yet recognising the socioeconomic barriers that persist around the performing arts, this new location symbolises the school’s renewed commitment to making dance more accessible for all.
Image on previous page: Landscaping and external elevation.
Credit: Peter Malloy
Above: Lobby entrance space with dining area.
Credit: Nick Kane
Described by Mayor of London Sadiq Khan as a ‘gamechanger for dance’, a purposefully uncomplicated approach to inclusivity runs through Sadler’s Wells East from design to programming –captured by a red neon entrance sign with the glowing greeting, ‘You are welcome’. Double-height windows encircling the ground- oor reception and the upstairs studios not only let the spring sunlight pour in, but are a physical representation of this more transparent, accessible take on the traditional dance school. Passers-by are invited to set up shop in the café, restaurant and bar in this L-shaped foyer, which is also home to 0e Dance Floor, a public performance space open to guest artists and community groups. Events such as pre-show drinks receptions and a private viewing party
for the wall tapestries commissioned by Eva Rothschild establish this space as a hub for arts and culture, yet one that, according to founding architect Sheila O’Donnell, remains “a straightforward building, designed to be open, welcoming and ready for work.”
Continuing this straightforward approach, the material palette is simple, with warm brick, light timber and black industrial 1nishes enlivened by purposeful accents of colour. Against a backdrop of pale red brick, burgundy appears throughout as a uniting shade across task-lit bannisters, support beams and way1nding signs, while the reception desk and in-house bar are clad in glossy teal tiling and bar stools in the café are a sunny shade of mustard. 0is purposefully understated scheme
allows the creativity of the performances to take centre stage, with bold colours instead replaced by pattern and texture from perforated brick ceilings, vertical timber wall panelling and suspended rows of uncovered light bulbs. Ascending to the mezzanine and beyond from the bright, airy foyer, O’Donnell + Tuomey created six purpose-built studios in collaboration with a team of dance teachers and choreographers, including artistic director Sir Alistair Spalding and executive director Britannia Morton. “A series of precedent visits were arranged to see and experience studio spaces in other schools of contemporary dance in Europe,” explains O’Donnell + Tuomey’s project director, Jeana Gearty. “Workshops were then held with Sadler’s Wells’ associate artists and companies to further develop the studio spaces, informing decisions on exibility and individuality.”
Left: Coworking space on upper level.
Credit: Nick Kane
Centre: Theatre and performance space.
Credit: Peter Malloy
Right: Circulation spaces with exposed brick and timber slat details. Credit: Peter Malloy
Rehearsal spaces are therefore practical above all else, with a simple square oorplan, large windows and mirrored walls to host a diverse schedule of classes. To keep dancers comfortable during long rehearsals, the architects installed highperformance temperature and ventilation controls, soundproo1ng, professional lighting rigs and leafy outdoor terraces for fresh air during breaks. 0is need for functionality also means that the behindthe-scenes spaces almost outweigh the public-facing, with a labyrinth of corridors housing treatment rooms for sports massages, laundry facilities for cleaning and sewing costumes, and secure storage for audiovisual and production equipment. Engineers Buro Happold were also enlisted to ensure that the hand-laid brick and clay tile façade provides high solar and thermal performance, helping the building achieve a BREEAM Excellent rating. “0e site was very restricted, bounded by the London Aquatics Centre, existing road and rail infrastructure, and the Queen Elizabeth Olympic Park,” outlines Gearty. “Dance and rehearsal studios had to be stacked on top of each other and on top of the auditorium, while remaining acoustically isolated. 0e building is also adjacent to the busy railway line running parallel to Carpenters Road, and this required both acoustic and vibration isolation.”
“We wanted this bui'ding to be we'coming, and the generous pub'ic spaces wi'' invite the pub'ic to come in and experience dance, whether that’s for the first or the hundredth time.”
Flooring
Harlequin
Floors
Furniture
Jezet
Specialist Group
Lighting
LSI Projects
Mercon Group
Aideen Malone
Surfaces
Schneider
Facades, Galo
Star, S.Anselmo
Central and, of course, crucial to the project is a 550-seat auditorium, where over half of the seats fold away to expand the reach of the stage and create an immersive viewing experience, allowing sta. to experiment with di.erent styles of choreography – Mette Ingvartsen’s Skatepark most notably trading a conventional stage set-up for halfpipes and ramps, with her company including both skateboarders and dancers.
Teaching students from both the Rose Choreographic School and the Academy Breakin’ Convention (the country’s 1rst free performance arts diploma speci1c to hip-hop), the theatre opened with its 1rst show on 6 February +0+' and announced that 50% of its 20,000 opening season tickets will be available for £25 or less. Every performance in the season will also o.er £10 Barclays Dance Pass tickets for 16–30-year-olds.
“From the windows to the brickwork, O’Donnell + Tuomey have created an incredibly unique and deeply considered space in which to create and enjoy dance,” concludes Sadler’s Wells’ Britannia Morton. “0ey have created a purposebuilt theatre which is both brilliantly functional and beautifully designed, and which will make an important addition to the national arts infrastructure. We wanted this building to be welcoming, and the generous public spaces will invite the public to come in and experience dance, whether that’s for the 1rst or the hundredth time.”
Left: External signage and architectural details. Credit: Nick Kane Right: Entrance foyer with abstract artwork. Credit: Nick Kane
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The spark of life
London’s Che'sea Powerhouse sees a former coa'-fired power station transformed into a 'uxur( new 'iving deve'opment.
Words: Natasha Lev(
Photograph(: Fiona Barrett and BAYA
Before the UK turned to greener sources of energy such as wind and solar towards the end of the 20th century, much of the capital’s electricity came from coal-1 red power stations dotted across the city. Today, almost all of them have been demolished, decommissioned or converted for other uses – notable examples include Bankside Power Station, which was turned into worldleading art gallery Tate Modern at the turn of the millennium. In +0++ Battersea Power Station also opened to the public following a £ ( billion facelift, freshly 1 lled with o 2 ces, living spaces and a plethora of trendy shops. Now, the Grade II-listed Lots Road Power Station in a 4 uent West London has been reimagined as Chelsea Powerhouse: a lavish development host to 260 apartments and an array of amenities. 0 e building comes as part of the wider Chelsea Waterfront site, a collection of residential properties set among landscaped gardens and interconnecting footbridges.
0e Lots Road Power Station originally opened in %(0' and generated electricity for the entire London Underground railway network, at its peak burning through 700 tonnes of coal per day. When the Underground switched to sourcing power from the National Grid, the station was shuttered in +00+ and fell into decay. But a few years later, developers Hutchison Property Group tasked architecture practice Farrells with revitalising the building – a process that staggeringly involved the removal, restoration and relocation of two million bricks.
An assortment of designers came together to create Chelsea Powerhouse’s interiors, including Fiona BarrattCampbell, who was a fan of the building before she even became involved with the project. “I’ve long admired this landmark,
Image on previous page: Soft seating in the lounge of Chelsea Powerhouse
Above: Industrial chimneys and waterfront context
The ultimate workplace solution where zoning, flexibility, collaboration, and productivity can flourish.
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cycling past it during my college years and manifesting the chance to work on it one day,” she says. “My design concept from the outset was ‘industrial versus super-luxe,’ creating a dialogue between the building’s bold history and the softness needed for a welcoming, contemporary space.” 0is is clearly re ected in Chelsea Powerhouse’s central atrium, which once served as the station’s turbine hall. Here Barratt-Campbell has suspended a huge string of angular brass lights that resemble a shooting electrical current. Greenery-1lled planters sit directly underneath, accompanied by concrete water troughs that have been carved to mimic circuit boards.
Over the coming months the atrium will be populated by various high-end retailers, a couple of which will be integrated into two cavernous chimneys that have been preserved. As well as the shops, residents will have access to a riverfront restaurant,
club lounge, state-of-the-art gym, and a 20-metre swimming pool featuring dazzling monochromatic tilework. 0e esteemed Chelsea Design Centre is additionally just a stone’s throw away.
Barratt-Campbell is also behind the design of Chelsea Powerhouse’s concierge, which has been decked out in robust materials that further evoke the building’s industrial past. 0e service desk, for example, is crafted from a hefty block of granite
Below left: Concierge desk located in the lobby
Below right:
Atrium space with biophilia
The herringbone foor of the future
Misty White
Grey
Below left:
Lounge and dining area in an apartment
Centre:
Materiality details in the bedrooms
Right:
Indoor pool and loungers are available to residents
stone, while the screen divider behind is made up of hammered bronze panels. 0ese contrast against softer elements like the room’s creamy curved sofas, or the mottled glass pendant lights which BarrattCampbell selected for their resemblance to owers on stems. “0oughtful layering of textures, a considered approach to materiality, and a carefully zoned yet cohesive lighting scheme ensure that every perspective – from the ground oor to the apartments above – feels visually harmonious,” she adds. “I love the tension between hardness and softness, industrial rawness and polished elegance.”
Two show apartments in Chelsea Powerhouse have been curated by design studio BAYA. Its sister studio BLOCC has already worked on a number of properties in London, but the power station was something of a hidden gem for co-founder Karl Openshaw. “I used to live down the road but didn't really know anything about the harbour or the building, so it was a real ‘wow’ when we began exploring,” he says.
Showroom interiors are often executed in neutral colours in order to appeal to a breadth of tastes, but BAYA wasn’t afraid of establishing a bolder palette: “0at's our ethos,” explains co-founder Philippa Simpson, “we feel that you can be con1dent with colour and bring personality into spaces.” Terracotta and brick-red hues have therefore been applied to the unit that overlooks house-lined streets of the surrounding neighbourhood, while blueygreen tones ow throughout the unit that has views across the 0ames.
Finished with smoked-glass mirrors, brass-inlaid bedframes, velvety cushions and bespoke artworks, the opulent interiors of the apartments – and Chelsea Powerhouse as a whole – are a far cry from the building’s grimy, coal-smeared origins. And while its days of producing electricity may be far behind, this revamp has no doubt sparked new life into this pocket of London.
“‘
Industrial versus super-luxe,’ a dia'ogue between the bui'ding’s bo'd histor( and the so)ness needed for a we'coming, contemporar( space.”
Calling card
Words: He'en Parton
Photograph(: Phi' Hutchinson
For Dojo’s Bristo' hub, BDG and To''gard Studio create a workp'ace centred on a , a istr( and p'ace.
Image on previous page: The underside of the statement staircase with soft seating breakout space
Below:
Seating arranged for lecture presentations
“0e reception is like a piece of art,” says Sta.an Tollgard enthusiastically. 0e creative director of Tollgard Studio is referring to the entrance of the contact centre and training hub for technology company Dojo in Bristol, over two oors of the EQ building near Temple Meads station. 0is is the latest project where his residential design chops have been paired with the workplace expertise of BDG architecture + design. Back in that reception, with its daybed, oversized lamps and rounded, highly stylised seating and brace of co.ee tables, it certainly does have a certain still life quality to it.
Tollgard plus Adam Childs, BDG’s creative director, have both travelled to give a tour of this, their latest creative collaboration, the two practices having successfully worked together previously on the headquarters of Dojo London o2ce in the Brunel building in Paddington.
Childs continues the art theme. “0ere’s a dream-like quality to this watercolour piece here,” he says, indicating a piece by Will Barras behind the reception desk. “0ere’s scenes he’s depicting here of life and memories in Bristol.”
0ese local references were key to bringing the local area in, Childs explains: “We picked four di.erent artists: Oshi, Andy Council, Epod and Will Barras, with four very distinct styles to tell multiple stories to connect the people here.” While elements such as the wooden ooring and the desking are the same as in the Brunel building, the brief here from Dojo COO Justin Haines was to create a contact centre that didn’t look like the usual typology, but instead create “a nice cool o2ce where people will be happy taking calls,” Childs says. Finding a place to take those two 1fteenminute breaks and a lunch hour within
The Rhythm of Work - Flow and Focus
The Rhythm of Work - Flow and Focus
Join us in our showroom this Clerkenwell Design Week for an exploration of sound and light in the workplace and learn how to zone your spaces for maximum impact
Join us in our showroom this Clerkenwell Design Week for an exploration of sound and light in the workplace and learn zone your spaces for maximum impact
RISE & SHINE: CHAMPAGNE & CONVERSATIONS
RISE & SHINE: CHAMPAGNE & CONVERSATIONS
BEYOND THE BLUEPRINT: 3D DESIGN & BIM
BEYOND THE BLUEPRINT: 3D DESIGN & BIM
ACCESSORISE YOUR DESK CLOSING EVENT
ACCESSORISE YOUR DESK CLOSING EVENT
Kick off CDW with a glass of bubbly, great chats, and fresh inspiration.
Tues 20th May 8:30-10:30 AM
Kick off CDW with a glass of bubbly, great chats, and fresh inspiration.
Explore the shift from 2D to 3D design with Mount Lighting.
Explore the shift from 2D to 3D design with Mount Lighting.
Create your own acoustic desk lamp & mini felt plant!
Create your own acoustic desk lamp & mini felt plant!
Here’s a taster of what we’ve got planned: 14 BALTIC STREET EAST, LONDON, EC1Y 0UJ
THE BIG BLOOM GIVEAWAY
Visit our showroom during CDW to win a giant felt plant! Winners announced at event close! Tues 20th May 8:30-10:30 AM Weds 21st May 11:00 -12:00 PM Thurs 22nd May 4:00 - 6:00 PM
Weds 21st May 11:00 -12:00 PM Thurs 22nd May 4:00 - 6:00 PM
Here’s a taster of what we’ve got planned: 14 BALTIC STREET EAST, LONDON, EC1Y 0UJ
COME AND BE INSPIRED!
COME AND BE INSPIRED!
Dojo Bristo
the working day was also key, hence the plethora of places to decompress or gather. 0ese include a large table by Oshi, which features the artists signature as layered compositions next to the co.ee bar – booth seating in caramel anked by green tiles and, further along the oor, Ligne Roset seating in jewel tones of emerald and sapphire. 0e portrait of a woman by Epod stretches down from the sixth to the 1fth oor. “It’s almost as if the art was here before the architecture,” Tollgard says. BDG’s insertion of a staircase is no slouch in the style stakes either, a sleek red and timber a.air takes one downstairs to the Customer Immersion Zone. “Training was also very important, so an area where they could explore role playing was crucial,” Tollgard continues. Here sta. can get to grips with the very terminals Dojo customers are dealing
with. Just as the presentation area on the upper oor is exible enough to host a product demonstration, a 1lm night or a Christmas party, so the space here can be easily transformed into a restaurant, a orist or other real-life scenario to further encourage empathy. Generous behind-thescenes storage and stackable furniture are both key to the space’s versatility.
0e contact centre workstations have an abundance of lockers. Sta. rotate which seat they’re occupying on a weekly basis and the 7.5 hour shift patterns cover early mornings to early evenings with some technical support available later to serve Dojo’s 126,000+ businesses. 0at means there’s de1nitely the requirement to have that reassurance of somewhere to put their belongings.
Acoustics are crucial too, taking calls by its nature being a noisy business. To this end, there are acoustic wall treatments in both fabric and timber while the planters in between the banks of desks (over 400 in total) also provide a sound absorbing divide. But, says Childs, they are deliberately positioned at a height to be a “bu.er, but not a visual divide”.
Walking down to one end of the building, there is a ‘tall zone’ of high stools and room to have standing meetings plus Vitra’s Dancing Wall, another element replicated from the Brunel building, to display information or write ideas. Individual high back chairs placed along the perimeter provide a moment of calm while one corner of each oor is given over to a cluster of them together. “It's a place where you can be alone together,” says Childs. Here you can see Bristol landmarks such as Temple Church – colloquially known as the ‘wonky church’. “We thought about where the best views are and if we could make those available to everyone,” Childs says. 0is opportunity for respite is all part and parcel of the approach to wellness. 0ere is also a mother’s room and a faith room, and e.orts have also been made to cater for neurodivergence in terms of variations possible in lighting and acoustics.
“&t’s a'most as if the art was here before the architecture.”
Left: Reception area and front desk with watercolour mural Centre: View from the top of the staircase
Right: Street art-style murals are commonplace throughout
Below: Furry friends welcome at Dojo Bristol
Dojo Bristo
0e desking is punctuated with various permutations of meeting space from phone booths to one-on-one meeting rooms to multiple-person gathering places. Meeting room names take their cues from local landmarks such as Christmas Steps and Avon Gorge, and careful attention has been paid to materiality too. One room has a tactile wallpaper that looks like a painted
industrial wall while another, named the Darth Vader room (a nod to the original actor in the black mask, David Prowse, being a proud Bristolian) has an Op Artlike e.ect with segments of bright colour.
Perhaps the boldest material gesture is a brace of large meeting tables beautifully hewn from one specially selected tree from Denmark. “We kept the discrepancies as we wanted to show this is the real thing,” says Tollgard, exploring the wood’s grain and grooves as we sit on Vipp chairs placed on a Kasthall rug in the boardroom.
Childs talks about Dojo’s desire for happy people equating to happy customers and that certainly seems to be the case here. 0e design has carefully considered the nature of the jobs done in this Bristol base, incorporating some vibrant local touches as well as staying close to the Dojo brand.
Flooring
Havwoods
Tarkett
Forbo
Furniture
Knoll
Herman Miller
Vipp
Malte Gormsen
Vitra
Resident
Punt
Emeco
+Halle
&Tradition
Kasthall
Nikari
Ligne Roset
Tacchini
Desalto
Surfaces
Refelt
Kvadrat
Vtec
Londonart
Lighting
iGuzzini
Nemo AND Light
Rubn
RBW
Anour
VIPP
The new podcast in which we explore how the inner worlds of designers, architects and creatives shape the world around us. Listen and subscribe on Spotify and Apple Podcasts, and watch in video at mixinteriors.com/podcasts.
Is your o.ce invisible?
Commercial real estate is a highly visible industry sector and hard to ignore, but does its presence match its importance? Do tenants really need all that space?
Just because large organisations are such big consumers of real estate should not prevent us questioning how useful it is –so let us begin by looking at the workplaces that populate all those buildings.
We recognise how the purpose of o2ce space eroded as it gradually stopped being the place where all the ‘stu. ’ was located. Fifty years ago, everything you needed to do your job was kept in the o2ce: tonnes of paper, and communication tools like stationery, copiers, and, of course, the 1xed telephone. Even the 1rst desktop computers nailed their users to one spot, while mobile phones were unheard of. So, you had to turn up at the o2ce.
Now all this has gone and hybrid working is making desks and cubicles look a bit vestigial, or at least optional. Because of these changes some companies have taken the bold step of exiting their leases altogether – for example
Coinbase the crypto trading platform, Dropbox the 1le sharing app provider and Family, the international NGO.
Although some companies have gone to the opposite extreme demanding full-time attendance, most 1rms are hedging in the middle, arguing about how many days a week they can mandate their people to turn up. 0is means that for an increasing number of companies it is beginning to look like o2ce space is truly optional; a bit like car ownership, you can choose, and not lose out. Can this be true?
We have already seen that tools and information locked in the o2ce have forced people to turn up in the past, and that technology has removed a lot of this imperative, but this ignores the other resource that we 1nd at work – people.
Although a few tech 1rms take the view that face to face contact is of little value, most others agree that human interactions are good for innovation, problem solving, culture consolidation and basic mental health. If the o2ce no longer serves as a production hub, maybe it has graduated into a talking shop, social club or conference centre.
0e need for the old o2ce functions has not disappeared, it is simply that they have contracted into an electronic package that you can carry under your arm, or even in your pocket, and the virtual storage and communication networks have replaced the physical and hard-wired versions. 0e old o2ce still exists and thrives, but it has become invisible.
As we have removed the old 1xed assets from the workspace, what you have left is the social function, which has always been one of the reasons for showing up, but maybe a less obvious one.
0 ere is a lot of analysis that supports the productive value of human interaction and physical proximity. One contributor is Roland Openshaw, the seasoned real estate professional who writes about his time with P 1 zer, another is 0 omas Allen, a professor at MIT in the %(,0 s who gave us the Allen Curve. 0 is thinking lends credibility to optimistic commercial real estate futures, but for new social spaces, not o 2 ces as we once knew them, they have become invisible.
Steve Gale is head of strategy at M Moser Associates
Words: Ke''( Bencheghib
Photograph(: cou es( of Sungai Design
The alchemy of waste
Capturing waste as it flows downstream, &ndonesian creatives
Sungai Design o er up a new future for rec'aimed p'astic.
0ink of Bali, think of white sandy beaches, rocky cli.-fronts and clear blue waters. Look a little closer however, and you’ll 1nd trash-clogged rivers and plastic bags tangled in trees and mangroves – largely the result of extensive tourism, rapid urbanisation and inadequate waste management systems on the Indonesian island.
Growing up in Bali, the country’s worsening pollution problem caught the attention of siblings Kelly, Gary and Sam Bencheghib, founding non-profit
Sungai Watch in late 2020 and organising community clean-ups of Bali’s rivers using oating trash barriers that stop the ow of plastic pollution into the ocean. 0e most common material, the notso-humble plastic bag, led the team to consider a use for this huge stockpile of rubbish, launching sister organisation Sungai Design to showcase the possibilities of what waste can become. Now, the plastic is cleaned, shredded and heat-pressed to form sheets, then cut into di.erent components to create furniture. Kelly Bencheghib explains.
Plastic pollution is one of the de1ning environmental challenges of our time. Studies show that 80 to 90 percent of plastic found in the ocean comes from rivers and streams, carrying waste from cities and communities straight into the sea. Indonesia, home to some of the world's most biodiverse marine ecosystems, is also one of the largest contributors to ocean plastic pollution.
0is crisis is not just about plastic itself. It is about how we use it, dispose of it and the systems that allow it to become waste in the 1rst place. Sungai means river in Indonesian, and at Sungai Design, we believe that tackling ocean plastic pollution starts upstream. Protecting the ocean is essential because it is the planet’s greatest life support system, generating over half of the oxygen we breathe. 0e health of our rivers determines the health of our seas and, in turn, the health of all of us.
Sungai Design was born out of necessity. Since late 2020, our sister organisation, Sungai Watch, a community-led nonpro1t, has collected over 3.5 million kilograms of plastic waste from Indonesia’s rivers. As we sorted through the waste, one material stood out: plastic bags were by far the most common item we recovered. Unlike other types of plastic, plastic bags have limited recycling options in Indonesia due to low market demand, meaning that they quickly piled up in our sorting warehouses.
Image on previous page: Ombak chair by Sungai Design
Below left: Plastic waste removal from Bali’s waterways
Below right: Sorting through plastic waste at Sungai Design’s dedicated facility
“Our work proves that waste can be reimagined as a resource.”
We had to 1nd a solution not just to manage what we had already collected, but because more plastic bags were entering rivers every single day. 0is is how Sungai Design was born: to turn waste into something useful while creating a model that allows us to scale our cleanup e.orts even further. Every piece we produce helps fund the next river cleanup, allowing us to expand beyond Indonesia and bring this mission to the world.
Recycling: not the solution, but part of one
We believe that recycling alone cannot solve the plastic crisis. 0e real solution is reducing plastic production, phasing out single-use materials and designing better
alternatives. But while we push for these systemic changes, we must also address the reality of the waste already polluting our environment.
By repurposing river plastic into durable materials, we provide a viable, transitional solution – one that prevents waste from being dumped in land1lls or owing into the ocean. Our work does not replace the need for better policies and corporate responsibility, but it does prove that waste can be reimagined as a resource.
Every Sungai Design piece starts with plastic collected from rivers – materials that were once pollution but now serve a purpose. Our Ombak Collection, inspired by the rolling waves of the ocean, embodies the balance between function, aesthetics and impact. Each chair is
made from 2,000 recycled plastic bags –bags that would have otherwise remained in the environment for centuries. By transforming this overlooked material into durable furniture, we are proving that sustainability and design can go hand in hand.
Beyond products: a movement for change
Sungai Design is more than a furniture brand, it is a tool that allows us to clean more rivers, employ more communities and drive larger conversations about waste. Every piece we create is a direct investment in Sungai Watch’s mission, helping us expand our reach and scale our impact.
While our work is focused on Indonesia, its impact is global. Plastic pollution does not recognise borders and every river we clean prevents waste from reaching the ocean and a.ecting ecosystems around the world.
Ultimately, we hope to change the way people think about waste – not as something to be discarded, but as a material with potential. 0e transition to a circular economy requires a shift in mindset, one where resources are used and reused rather than thrown away. 0e more we integrate these principles into design and production, the closer we get to a world where waste is no longer part of the equation.
sungaidesign.com sungai.watch
Left: Sungai's Muara Bench Center: The Muara Stool
Above: Ombak chairs assembled at Sungai Design’s factory
Words: Rob Fiehn
The Low-Tech city
Wh( an urban model of sustainabi'it( might represent societ(’s best hope for the future.
As we careen towards a climate emergency and temperatures rise, our cities are becoming more complex and technological. Fully-integrated systems of sensors and connectivity means that we can monitor a huge range of issues and, it’s hoped, we will be able to put controls in place to manage people and all the surrounding infrastructure that supports them. 0is concept is widely known as Smart Cities but there are serious concerns raised by wedding such technology to the urban environment, as we know that these systems are constantly in need of maintenance and upgrades. 0e rural idyll sits at the polar opposite of this, with communities existing in closer proximity to nature, but this way of living often means more car-dominated environments and
much less in terms of shared resources. Every Englishman’s home becomes a castle.
While cities present huge challenges in terms of population density, overheating and ooding, I believe that they represent our salvation. We should be harnessing the power of close-knit communities and the ability of the metropolis to adapt –something it has been doing very well for thousands of years. 0e main issue now is how to speed up this adaptation with the environmental clock ticking. As with most problems, solutions can be found in the past and it turns out that they are invariably not that complicated at all. Designers can play a huge role in this revolution and we don’t need to reinvent the wheel.
Image on previous page:
Citizens House.
Credit: French Tye
Below image:
Circulation at YY
London by BGY.
Credit: Tim Soar
The city of the future is low-tech
0e High-Tech architecture movement began in the %(,0s and really became a dominant design export from Britain in the %()0s. 0e architects responsible explored highly engineered buildings that were very economic with materials and adopted factory techniques for production at scale. 0eir buildings were primarily constructed of steel, glass and concrete, which is not great for the environment, but we can learn from their ‘do more with less’ approach to usher in a new Low-Tech era that looks at materials and function in a more holistic way.
So, what can designers do to make cities more sustainable? 0ere are a number of strategies that can be easily adopted for simpler and more resilient cities:
Listen to the people
Local people and building occupants are often much more in tune with the speci1c needs of their areas and engagement is key. 0ere is an impression that the general public only come into play to object to new developments and put a halt to progress. 0is usually occurs because there is a lack of genuine consultation and proposals are almost fully realised by the time they are shown to the community. Citizens House is a community-led housing project in Lewisham by Archio that went into planning with 107 letters of support and no objections at all. It also provides a public space outside the front of the building which was a request from nearby residents, as they felt it was missing from their estate.
“The High-Tech architecture movement began in the 1970s and rea''( became a dominant design export from Britain in the 1980s.”
Jim Stephenson
Above: External elevation of YY London by BGY. Credit: Tim Soar
Right Westminster chapel by ScottWhitbyStudio. Credit: Jim Stephenson
Left: Costas Barbers by Brisco Loran and Arrant Industries. Credit:
Low-carbon construction
We used to build with more natural materials, such as timber and stone. 0ey have a far lower embodied carbon rating than their manmade successors and have the potential to change the game in terms of future renovations and longevity. People have been swapping timber beams for replacements for centuries, while stone endures over the generations and makes up many of the oldest buildings left on the planet. Ancient Greek and Egyptian civilisations understood the amazing bene1ts of cork and a recent refurbishment of the Westminster Chapel in central London (designed by ScottWhitbyStudio) showcased the largest cork oor in Europe. It sequesters over 70 tonnes of carbon in this one project alone and has amazing acoustic properties.
Heat reduction
Cities are much older than the advent of air-conditioning and there are lots of techniques to keep our buildings and streets cool that seem to have been lost over the years. 0e architecture critic Edwin Heathcote has called for the return of the humble awning, which he describes as “low-tech but high-e2ciency”. 0ey are quick to bolt on and easily replaceable, while providing joyful moments of colour as well as much-needed shade. Out on the road, we used to be better at creating treelined avenues that provide a wonderful natural canopy for passersby. Recent news has informed us that some councils are removing trees to cut costs, which will only serve to make streets hotter and more unbearable as temperatures continue to soar.
Don’t waste buildings
0e history of urban environments has all been about incremental changes over time, as buildings can be repurposed for entirely new uses without the need for demolition. Old banks or churches can become workspaces, bars and even creches – often designed in ways that evoke a true sense of character that people really enjoy. A trip to Canary Wharf this year was predicated on a tour of YY London by Buckley Gray Yeoman, which is a huge retro1t of the old 30 South Colonnade building. By keeping the original structural frame, the designers have managed to slash carbon emissions by around 10,260 tonnes. As the old adage goes, the most sustainable building is the one that already exists.
Seamless spaces: what does it mean to create fully realised hospitality concepts?
Words and moderated b(:
Harr( McKin'e(
&n this Mix Roundtab'e with RAK Ceramics we exp'ore how to devise and de'iver comp'ete experiences, exp'ore what it means to carr( a concept through ever( facet of ever( space and ask if exceptiona' design is a'ways in the detai's.
The
state of play for hospitalit&
0e world of commercial interior design at large has, in recent years, seen seismic change – a blurring of the lines between traditional sectors. Hospitality principles now inform the creation of workplaces; working requirements, once the preserve of the o2ce, must now be considered in spaces once reserved for socialising; and elements of homely residential design are 1nding footing everywhere from the workplace to hotels and restaurants. Some of this di.useness has always been the case, but much has been driven by changes in how we live, work, travel and socialise in a postpandemic world, the global shakeup of COVID still manifesting today –even as it feels a best forgotten blip.
“When it comes to hospitality speci 1 cally,” noted Studio Found’s Ed Plumb, “there was shift [during successive lockdowns] when people could bring some of the restaurant experience to their home, for example a great cook-athome pack from a nice restaurant. It’s created a higher expectation for what the experience should be then, when people do go out. And that means mediocrity just isn’t good enough anymore. Heavily experience-driven restaurants and hotels are thriving – think of Big Mamma Group, which emphasises impact and overthe-top theatricality. 0 en, at the other end of the spectrum, when it’s a simple, honest experience, it has to be done really well, with a focus on details and executed beautifully. 0 ere’s very little room for the middle ground today.”
Harry McKinley Managing Editor Mix &nteriors
Annemarie Winten Associate Interior Designer Scott Brownrigg
Mitchell Parkinson Senior Associate HLW
Ed Plumb Design Director Studio Found
“[0e pandemic] has absolutely shaped the hospitality landscape as we see it today,” echoed RAK Ceramics’ Ben Bryden. “Because we’re seeing only two extremes: the really loud or the really homely, but elevated, because in the years since, it seems people are either looking for theatre or a kind of quiet escape.”
As well as service and experience, the table agreed that this polarisation of hospitality is driving a need for connection from consumers, a desire to relate to brands in a more meaningful way. “Which is why the age of standardisation is dying away,” explained Annemarie Winten, Scott Brownrigg. “You need to understand where you are in hospitality, and I mean that in the broadest sense. It could be a restaurant, a hotel or even an element of the workplace now. We want identity. No one wants to be in a ‘non-place’, that has nothing to say.”
“0ankfully brands and clients are a lot more comfortable with actually making a statement now; being de1nitive, rather than trying to be everything to everyone, because that doesn’t work anymore,” continued Studio Moren’s Tom 0orogood.
Another shift has been the degree to which values-oriented issues are impacting the conception, design and execution of projects – as highlighted by Winten, the
“We want identit(. No one wants to be in a ‘nonp'ace’, that has nothing to sa(.”
likes of diversity, inclusivity and sustainability. “0at evolution of focus means we don’t have one set of rules to work within anymore,” said Jasmine Fisher, founder of the eponymous design studio. “Colour psychology for neurodiversity is a really nebulous area, for example, and increasingly hospitality design is having to consider how we want a speci1c person, or type of person, to feel in a space.”
Here, the emerging role of technology was cited, as something both revolutionising the hospitality design process and a potential solution to new and evolving challenges. “Because it’s making it possible to more creatively look at adaptive lighting, colour, texture and materials,” continued Winten, “all important elements when considering spaces for diversity.”
Ben Bryden Sales and Marketing Director RAK Ceramics
Jasmine Fisher Founder Jasmine Fisher
Mattia Sanlorenzo Architect Rolfe Judd
Tom Thorogood Co-Head of Interiors
Studio Moren
“Good hospita'it( is authentic and, u'timate'(, it’s up to the c'ient and us as designers to go on that ride together.”
Building a concept and executing a design
With so many forces shaping and reshaping what successful, resonant hospitality means today, devising concepts that work is a perennial challenge – but one thing most around the table agreed on, is that it takes a strong narrative starting point. “It’s something that is increasingly being led by us, as designers,” emphasised 0orogood, who went on to detail the studio’s recently opened Hyde London City hotel project, the interiors of which drew on the Victorian history of the building, by referencing illusionists and the era’s sense of discovery and invention.
“Good hospitality is authentic and, ultimately, it’s up to the client and us as designers to go on that ride together,” said HLW’s Mitchell Parker. “0e authenticity of the hospitality concept and its design is really rooted in telling their story. And that’s not just a graphic branded wall, it's about the materiality, the textures and the feeling the space should evoke – while really considering the brand, the client and how they want to be seen.”
In application, telling a story rooted in place often starts from the outside in, something Rolfe Judd architect Mattia Sanlorenzo attested to: “It’s quite important to reveal the nature of a place through architecture – so being able to understand how the location can speak to the creation of a building, then translating that local narrative through, and into,
the interior design. 0at’s really what builds a seamless experience, that is respectful of the area and tells a complete story that users can connect to.”
Achieving a full& realised vision
0at sense of ‘completeness’ is, of course, what the table has been assembled to discuss, pivoting from sweeping themes to the practical realisation – something often, if not exclusively, centred on detail.
“0is is where the brief is super important,” stressed Plumb, “and it’s a crucial part of the process to interrogate it from the beginning. If you’re going to get the details right –the experience right, in a seamless
“&t’s quite important to revea' the nature of a p'ace through architecture.”
way – you need to, 1rst of all, work out who your customer is. In fact, do a customer matrix. What's most important for those people and how do we tick those boxes?”
“I think then, once you’ve 1gured that out, every room, every space, becomes important and has to be looked at in a holistic way,” continued Sanlorenzo.
Agreeing, Parkinson noted issues can arise later when forgetting to treat every space as an equal – or at the very least, important – part of the puzzle: “Problems can arise with smaller details, like 1 nishes, because the broader planning hasn’t been considered enough. For example, I'm working with a Chinese bank at the moment, redoing their o 2 ce. 0 ey want a particular hospitality feel for the client suite. It's supposed to look more like a hotel than a workplace; seamless design. But operationally you’re having to walk down the main corridor, with co .ee cups on the oor and 1 nishes that don’t match what they want to achieve in that suite. So lack of planning initially, meant that in terms of how di .erent spaces are intersecting, you’re not getting a 360-degree experience.”
“Exactly, you might even have back of house spaces that are tucked away, but they’re still being used by people,” echoed Sanlorenzo. “So at least 1nd some nice little details, or some repeated themes, that can run through the building. Whether a material or a design point, there are elements that can be applied in larger or smaller portions in di.erent places, so you feel like you’re moving from the big picture to the small picture seamlessly.”
For 0orogood, in designing hotels, it’s less about the priority of any given space – be it the guestroom, the bathroom or even the hallway – and more about points of interaction. “Budget wise, the main thing is guest touch points,” he said.
“A great concept echoes the c'ient’s mission; their vision, their va'ues and their expected demographic.”
“We need to get seating right; you might not think about a table height, but if it’s o., you notice it. 0ings like the lighting and the controls being simple.”
“Sinks and taps are really important,” laughed Winten. “Toilets as well, and details like door handles and tabletops, that might not seem part of the big picture but really say something about approach.”
0ere’s been a change here too, noted Bryden, who celebrates the fact that what some might deem ‘secondary spaces’ are no longer consistently being short changed – designers and their clients having realised that spending a bit more on those sinks, taps and surfaces creates a consistent quality bar throughout a project.
“And particularly with bathroom products,” noted Plumb, “it's understanding that there's a maintenance cost to these things
too. For the client, if you go cheap, they’re going to be getting it 1xed three times a year. So, actually, investing in quality is something you shouldn’t really compromise on, even as an economic argument.”
Concluding, Fisher surmised that exceptional hospitality is about drawing each of the elements discussed together, from the overarching to the granular. “A great concept echoes the client’s mission; their vision, their values and their expected demographic,”
she said. “And then that runs, or should run, through all of the touch points – that’s everything from the digital footprint, the building, the interiors, the scent and even merchandise if appropriate. 0at way customers or guests get a sense of what something is about consistently, through every single moment of interaction, as if that brand were a person – something tangible. When that’s achieved, that’s the essence of hospitality.”
Radical innovation for meaningful impact
With The Co''ective, we exp'ore wh( the future of sustainabi'it( means thinking outside of the box.
Words and moderated b(: Ch'oé Petersen Sne''
0e radical designer can take many forms – advocating for better working practices, using experimental, reused and recycled materials, and going against the grain to embrace new systems and aesthetics that support this.
Treading the line between idealism and pragmatism, how can we take a radically transformative approach to both thinking and practice? Gathering at reuse champions 0e Collective’s Shoreditch showroom, we explored how the industry can embrace disruption, champion change and challenge convention to create a bold new vision for sustainability.
Telling a better stor&
Sustainable design must be intrinsically linked to the client's values, noted tp bennett’s Vicki Odili – if sustainability is presented as a core value from the outset, it can be seamlessly integrated into the project brief and design process. “We create a blueprint from the start and use a 1ve-step process so it’s really simple. A lot of people feel sustainability is really complex, but if you approach it as, ‘these are your meaningful targets and metrics, and how you can share them with your stakeholders,’ it provides an anchor point.”
"I think the biggest shift that we need is to move into a systems thinking approach to everything
Chloé Petersen Snell
Deput( Editor Mix &nteriors
Sameeha Joshi Workplace Consultant
Peldon Rose
Vicki Odili Co-Director
Sustainability Team
tp bennett
Chiara Cantilena Senior Associate LOM
we do and stop looking at [design] as a commodity – it's an ever moving and enclosed process,” said Erik Svensson, Perkins&Will, advocating for a fundamental shift in our approach, to recognise the “interconnectedness of design,” material sourcing and the wider built environment – suggesting instead a focus on utilising existing resource. “0ere's enough material around already, we must start to adapt more and stop living by this idea that the moment we get bored of something, we need to redo it, because it's not trendy anymore.”
“It also needs a case-by-case approach to each building,” added White Red’s Joe Haire, “and that the 1t-out is in uenced by what’s already there, from wood panelling
to furniture. 0at story needs to be in the sales pitch – a lot of the time the client loves it and wants to use it in their own marketing.”
“And I think that's the key thing with the idea of systems thinking,” agreed Svensson, “that the boundaries of the system is clearly de1ned: this is what we're using,
“Stop 'ooking at [design] as a commodit( – it's an ever moving and enc'osed process.”
and these are the loops that we're going to try. 0e biggest challenge is just getting everyone else on board.”
0e Collective’s Julia Hardy highlighted the knowledge gap at the get go, regarding material reuse – manufacturers providing information for “O&M manuals that sit and collect dust” and which are not readily accessible or understood by the majority of users. “0ere should be conversations about understanding what's in those documents; understanding what the materials are and how to separate them. Not even at end of life, if you do get bored of them. We need to create a path and everybody has to stop at those points on the way to the end result.”
Julia Hardy Senior A&D Consu'tant The Co''ective
Joe Haire Co-founder White Red
Erik Svensson Senior Associate Perkins&Wi''
Jess Balm &nterior Designer BDP
“We're not going to stop growth. The idea of shortterm returns is the prob'em and a huge s(stemic issue.”
Making less impact as we grow
0e tension between growth and negative impact is inevitable, but there are ways to scale a business sustainably by shifting its de1nition of ‘returns’ from short-term pro1t to longer-term value, argued White Red’s Haire. “We're not going to stop growth. 0e idea of short-term returns is the problem and a huge systemic issue. Better planning, documentation and a focus on the longer-term impact [of a project or business] – which is much further away than you were perhaps planning to measure – can lead to better decisions. Ultimately, I think it comes down to that narrative and better storytelling.”
Business growth can have a dual impact on sustainability, Peldon Rose’s Sameeha Joshi noted; increased positive in uence through conscious practices or ampli1ed negative impact through ignorance or neglect. “Look at AI. If you use an AI engine for your search, it used 10 times more energy than a normal Google search. To o.set this, Google and Microsoft are investing in wind and solar energy, so that sector will see an uplift. Yes, it’s bad they are using more energy, but as big conglomerates they are making a positive impact with clean, green energy to manage their consumption.”
Waste to wonder
0ere remains a distinct disconnect between human practices and natural systems, with many around the table calling for the move beyond recycling to completely reimagine our relationship with waste. tp bennett’s Odili emphasised reframing the discussion –recognising all materials as resources. “0ere's no waste in nature. 0e system boundary is the lack of connection we have to nature, so we don't understand the waste. It doesn't exist – it’s all resources.
“For us at tp bennett, radical innovation is material sourcing, and really getting to grips with current opacity in the supply chain. [0e industry is] stripping out interiors every few years and the waste
“We need to consider how things go together during the initia' design phase, prioritising eas( disassembl(.”
is crazy,” she continued. “We’ve invested with a few other partners with the FIS and a reuse project, facilitating part of the problem which is storage – a lot of the issue in London is the space. Where do these things go? 0is storage facility primarily houses lighting and ceiling panels at the moment. We’re trying
to unlock this small piece of the puzzle, getting people to specify from this facility.”
White Red’s Joe Haire agreed: “It's the storage, it's the warranties, it's the logistics – the whole industry has to develop and recognise it's absolutely not waste, provided the industry is built that way.”
And for waste to become a valuable resource, a shift towards standardisation and designing for disassembly is crucial, added BDP’s Jess Balm. “A huge amount of resource goes into 1guring out how to take something apart. We need to consider how things go together during the initial design phase, prioritising easy disassembly and minimising the use of glues, for example – the enemy of reuse!”
Odili agreed. “What I'd love to see as a radical innovation is for material passports to become commonplace, so that actually it's not just the dusty O&M manual, but an app that everyone can access, not just the FM team, but also all the occupants, so they understand that sustainability narrative. We’re developing something and hoping to make it open source.”
0e table agreed that there is a lack – perceived or otherwise –of accessible research tools and reuse libraries that would enable designers to e.ectively incorporate existing materials into their projects from the initial design stages. “As designers, we need a mindshift where we assess resources available
“What &'d 'ove to see as a radica' innovation is for materia' passports to become commonplace.”
early on in the process,” said LOM’s Chaira Cantilena, suggesting that as resourcefulness becomes more crucial, these tools will be forced to emerge and reshape how we design.
“It’s a market gap that will eventually have to evolve, because we must
become a little bit more thrifty with what is available,” she explained, also advocating for material passports as standard. "Data is power. 0e more data we have about any type of material, the more con1dence the new buyer will have.”
Wonk& veg and new concepts of value
Doing away with virgin or raw materials seems scary, but a true cradle-to-cradle system would enable new products to be manufactured from renewable and fully recycled resources. How might this shift in this ‘material expression’ impact design?
White Red’s Haire attested to the challenge of dealing with buildings where historic façades mask signi1cant modern alternations, quickly (and often, poorly) done for commercial gain. How can designers embrace these Frankenstein spaces to tell a building’s true story?
“0e successful brands will be able to incorporate those quirks, they will be proud of them, and they will actually seek out certain environments,” he explained. “0at starts with us as designers, trying to present the building with its own unique, unvarnished identity as best as possible.”
“Wonky vegetables are radical,” attested 0e Collective’s Hardy, drawing a parallel between UK society’s acceptance of less-thanperfect supermarket veg and the acceptance of imperfections in interiors. “We need to rethink our relationship with the wonky and reclaimed instead of covering them up with shiny, new materials. 0ey’re just as beautiful and tasty,” she smiled.
“Data is power. The more data we have about any t(pe of materia' , the more confidence the new bu(er wi'' have.”
Mi'an: 8–13 April
Guide: Milan Design Week 2025
The wor'd’s 'argest design event is back with fu'' force. Mi'an Design Week once again takes over the cit(’s historic streets for its 63rd edition, with Sa'one del Mobi'e a'one expected to welcome over 2,000 exhibitors from 37 countries and 700 (oung designers from 20 prestigious
design schoo's. With the fair’s additiona' design districts and fringe events promising a schedu'e of boundar(-pushing activations, ta'ks and exhibitions from industry visionaries, we’ve compi'ed the u'timate guide to he'p you get the most out of Mi'an Design Week 2025.
Getting
around
Alongside the muchanticipated Salone Internazionale del Mobile at Rho Fiera Milano, the International Furnishing Accessories Exhibition, Workplace 3.0, S. Project and SaloneSatellite will all be back in the same single level layout, with its easy-to-follow paths throughout the city. Visitors can also expect returning favourites such as the Corraini Bookshop, the Formafantasma Arena, the Salone Library and the Design Kiosk, the latter of which will be open from 1 April onwards, for a curated schedule of meetings and talks.
0 e biennial Euroluce will be back at pavilions 2–4 of Salone del Mobile for its 32nd iteration, with 31,500 sqm of exhibition space bringing together more than 200 international brands as a central platform celebrating the world of lighting design. 0 is will be home to the 1 rst edition of the Euroluce International Lighting Forum, a two-day series of workshops and roundtables in which industry leaders will explore topics such as arti 1 cial intelligence, biophilia and sustainability, in the Forest of Space Arena designed by Japanese architect Sou Fujimoto.
Themes New for 2025
Presented through the medium of photography, the communication campaign for this year’s fair has been revealed as ‘0oughts for Humans’, devised by Dentsu Creative and New York artist and photographer Bill Durgin, whose work aims to deconstruct the human body. Across the fringe events of Fuorisalone, the theme for +0+' is ‘Connected Worlds’, which will see exhibitions inspired by three AI-generated images (selected by art director and photographer Silvia Badalotti) representing the cyclical, hybrid interactions between humans, nature and technology.
Aiming to aid way1nding across the expansive event and its various districts, four major pavilions at Salone del Mobile (13-15 and 22-24) have undergone a comprehensive loop-shaped redesign to enhance visitor experience.
0e entire event will also be accessible via new, themed experiential routes by special guests Pierre-Yves Rochon and Paolo Sorrentino, which can be navigated using the labelled maps and visitor information on the o2cial event app.
0is also marks the 1rst year that both Salone del Mobile and Fuorisalone will support Mito Design Connections, a project aiming to ease the pressure on Milan’s booked-out hotels and bustling transport links during the festival.
0is digital platform makes it easier for visitors to book accommodation in Turin, from which they can commute to the festival within 35–40 minutes via local, high-speed trains.
Design Kiosk
2025 communication campaign “Thought for Humans” by Bill Durgin
Design districts Installations
Exploring beyond the core fair of Salone del Mobile, visitors can again enjoy a wide range of eclectic design districts throughout the city. 0ese will include Isola, a fan favourite known for spotlighting emerging talent; Brera, the art-focused district of showrooms and galleries blending modern and traditional design; 5VIE, a district showcasing contemporary design in historic buildings; and Porta Venezia, a more recent addition to Fuorisalone aiming to celebrate the neighbourhood’s modernity and diversity.
Mother –Robert Wilson
Described as ‘a tribute to light, to art and to the city’, artist and special guest Robert Wilson will open Salone del Mobile 2025 with ‘Mother’, the 1rst installation available to the public on 6 April. Creating a dialogue with Michelangelo’s masterpiece, this installation will feature music by Arvo Pärt and will welcome visitors both before and after Milan Design Week.
When & where:
8 April–18 May 09+00-18+00
Museo Pietà Rondanini: Castello Sforzesco
La dolce atessa (Sweet Waiting) –Paolo Sorrentino
Announced as a special guest in February 2025, director, screenwriter, writer and Oscar winner Paolo Sorrentino will present La dolce atessa (‘Sweet Waiting’), exploring the invisible bridge between present and future. 0e installation examines the act of waiting as a ‘void to be 1lled or an opportunity to be seized’, with the set designed by renowned set specialist Margherita Palli.
When & where: 8–13 April 09+00–18+00
Rho Fiera Milano: Entrance Pavilion 22-24
Villa Héritage –Pierre Yves-Rochon
Another special guest at this year’s festival, renowned French designer Pierre Yves-Rochon has created a new themed itinerary and exhibition route introducing the theme of ‘A Luxury Way’. 0is elegant, multi-sensory installation route is dedicated to timeless luxury design and will craft a dialogue between Italian design heritage and contemporary innovation across two pavilions.
When & where: 8–13 April 09+00–18+00
A Luxury Way, Rho Fiera Milano: Pavilions 13–15
Mother by Robert Wilson Villa Heritage by Pierre Yves Rochon Paolo Sorrentino
Events Milan Design Week
Activations
Casa Cork –Rockwell Group x Cork Collective
An immersive installation, events programme and student competition curated by the Rockwell Group and non-pro1t organisation Cork Collective, Casa Cork is a unique space with interiors, furnishings, lighting and student prototypes crafted almost entirely from cork. 0e result of a partnership with the world’s largest cork processor, Corticeira Amorim, the installation’s dramatic centrepiece is a lifelike replica of a monumental cork tree made from reclaimed virgin cork bark.
When & where:
8–13 April 10+00-17+00
31 Via Solferino
Exodus –Bolon x Luca Nichetto & JoAnn Tan
Swedish woven ooring company Bolon presents Exodus in collaboration with multidisciplinary designers Luca Nichetto and JoAnn Tan. Hosted inside a historic Milanese house, now home to the new JoAnn Tan Atelier, the installation brings Bolon’s sustainable woven ooring to life through a fantastical ecosystem of mysterious anthropomorphic creatures. O.ering a transformative visual journey between past and future, Exodus aims to shape new sensory dimensions and rede1ne how we perceive space.
When & where:
8–12 April 10+00–20+00
13 April 10+00–17+00
Viale Lombardia 56, 20131
The Euroluce International Lighting Forum
Light for Life: Masterclass with Stefano Mancuso
0e Light for Life section of the new Euroluce forum will explore the role of both natural and arti1cial light in human life, with a goal of understanding how lighting design promotes psychophysical well-being and optimises the use of energy. A pioneer in plant neurobiology, Stefano Mancuso’s masterclass explores the way plants capture light and how this knowledge can be applied to the human environment.
When & where: 10 April 11+15–12+45
Euroluce, Rho Fiera Milano, Pav. 2
The Euroluce International Lighting Forum
Light for Spaces: Masterclass with Karou Mende
0is masterclass with Japanese lighting designer Karou Mende will explore the pivotal role of light and shadow in architecture, and how this interplay can deepen the connection between people and spaces. Mende’s lecture will examine the present and future of lighting design through the three key perspectives of innovation, sustainability and wellbeing, illustrated by examples of the world’s greatest architectural achievements.
When & where: 11 April 10+30–11+00
Euroluce, Rho Fiera Milano Pav. 2
Render of Casa Cork by Rockwell Group
Bolon’s Annica and Marie Eklund
Lighting designer Kaoru Mende
The Euroluce International Lighting Forum
Light for Spaces: Masterclass with Patrick Rimoux
Known for his collaborations with Wim Wenders, Akira Kurosawa, Bollywood and, more recently, the lighting design for the Notre-Dame, artist and sculptor Patrick Rimoux will host a masterclass on the second leg of the two-day lighting forum. 0e masterclass will provide participants with a deeper understanding of arti1cial lighting and its impact on the perception, functionality and aesthetics of architecture.
When & where:
11 April 11+15–11+45
Euroluce, Rho Fiera Milano, Pav. 2
The Euroluce International Lighting Forum
Light for Spaces: Masterclass with Lonneke Gordjin
For the last 18 years, artist and designer Lonneke Gordijn has been developing room1lling artworks and interactive installations at Studio Drift, using light and motion to change people’s behaviour and emotions. 0rough examples of di.erent projects, Lonneke will share the creative process behind her studio, demonstrating the power of intuitive communication via light and movement and how technology can help us create living environments that activate people’s brains.
When & where: 11 April 12+15–12+45
Euroluce, Rho Fiera Milano, Pav. 2
BLOND x Harry’s –Double Vision
London industrial design studio BLOND has collaborated with New York grooming brand Harry’s to create an immersive installation on the use of AI in design. A live case study invites visitors to track the design development of two facial steamers, one created by BLOND using AI tools and a second created by Harry’s using ‘traditional’ industry processes, for an interactive research project exploring the question: Can AI bene1t designers and users while preserving originality, design craftsmanship and human touch?
When & where: 7–13 April 10+00–18+00
Brera Design District
Via Palermo 8, 20121
Superstudio Più –Happiness at the Superdesign Show
In celebration of 25 years of the Superdesign Show at Via Tortona, Superstudio Più is hosting an international art collective with over 70 designers from ten nations and more than 20 unique projects on the theme of Happiness. 0is edition will be introduced by Francesco Morace, sociologist, essayist and founder of Future Concept Lab, and the pieces curated by art director Giulio Cappellini.
When & where:
7–12 April 11+00–21+00
13 April 11+00–18+00
Via Tortona 27
BLOND x Harry’s Double Vision collaboration
Studio Drift’s Lonneke Gordjin. Credit: Sander Plug
Happiness at the Superdesign Show by Superstudio Piu
Conversations
MoscaPartners –Variations
MoscaPartners will return to Palazzo Litta with the collective exhibition MoscaPartners Variations, under the theme of Migrations. Among a roster of international artists, Korean architect Byoung Soo Cho has been commissioned for his 1rst site-speci1c installation in Italy, entitled ‘Nobody owns the Land: Earth, Forest, Mahk’. In the seventeenthcentury courtyard, visitors are invited to walk barefoot on the soil to reestablish their connection with the earth and make other tangible connections back to the land.
When & where:
7–13 April
Palazzo Litta, Corso Magenta 24
For the third consecutive year, the Formafantasmadesigned talks arena will be hosting Drafting Futures: Conversations About Next Perspectives. This will encompass five days of talks and roundtables curated by Salone del Mobile’s editorial director and cultural events advisor, Annalisa Rosso, with some of the biggest names from the international design scene.
Designing a New Tomorrow: In conversation with Valeria Segovia
Valeria Segovia, principal and design director of Gensler London, is recognised as a talented architect committed to reducing environmental impact and improving the wellbeing of local communities. Segovia examines how it’s time to shift our perspective of ‘great design’, not just valuing materials that come straight from the earth, but celebrating those that have lived past lives, transformed and repurposed for a new era.
When & where: 10 April 11+00–12+30
Drafting Futures Arena Pav. 14
Drafting Futures: In conversation with Lesley Lokko
Founder of the African Futures Institute and curator of the 18th International Architecture Exhibition at the Venice Biennale, Lesley Lokko is an architect, lecturer and bestselling author who conducts awardwinning investigations into the relationship between identity, culture and space. 0is talk explores Africa’s rapid urbanisation and the challenges that this entails in terms of education, sustainability, skill sharing and social innovation.
Paolo Sorrentino in conversation with Antonio Monda
Focusing on the evolution of Sorrentino’s style, from his debut to his most recent works, this talk aims to analyse the creative processes of auteur cinema and highlight the dialogue between cinema and other art forms. Re ecting on the narrative and stylistic dynamics that characterize Sorrentino’s Oscar-winning 1lms, participants will receive a deeper understanding of the language of cinema and the relationship between aesthetic form and narrative content.
When & where:
12 April 11+00–12+30
Drafting Futures Arena Pav. 14
New Craftsmanship: A New World –Alberto Cavalli
Curated by Marva Gri2n, New Craftsmanship: A New World is a themed event dedicated to talented designers under the age of 35. 0e initiative is an invitation to reimagine the universe of the handmade, build a bridge between heritage and the future, and generate new interactions with contemporary design in the name of sustainability and cultural identity. Alberto Cavalli, director general of the Fondazione Cologni dei Mestieri d’Arte, will respond to this theme with a dedicated talk at SaloneSatellite.
When & where: 10 April 15+30–16+30 SaloneSatellite, Rho Fiera Milano, Pav. 7
–Africa table lamp
Designed by Francisco Gomez Paz, the Africa collection is inspired by anthropology and ancient art forms, combining form and materiality with high-performance lighting capabilities. De1ned by a slender, conical stem, its unique silhouette aims to make a statement anywhere from public libraries to hotel lobbies and residential projects.
When & where: 8–13 April 09+00–18+00 Euroluce, Pav. 6, B23 & C20
Duravit x Patricia Urquiola – Balcoon bathroom series
0is immersive installation by Spanish architect and industrial designer Patricia Urquiola will present her new Duravit bathroom series, Balcoon, in celebration of Elle Décor Italia’s 35th anniversary. At the Design Vision talk, Urquiola will share her vision for the future of bathroom design and her personal design philosophy.
When & where: 8 April 19+00–21+00
Palazzo Bovara, Corso di Porta Venezia 51
Vibia
Vibia, Africa Table Lamp
Duravit X Patricia Urquiola, Balcoon Bathroom series
Bontempo
Brazil x Roberta Rampazzo – Cuddle armchair
London-based Brazilian designer
Roberto Rampazzo is launching the latest addition to the ‘Our Home’ collection, created exclusively for furniture brand
Bontempo
Brazil. !is "vepiece collection is designed with a focus on timelessness and comfort, using high-quality materials in neutral tones to create sophisticated, elegant staples.
When & where: 7–17 April
Interni:
Università degli
Studi di Milano
Bosa x Jaime Hayon – Danza collection
Ceramics brand
Bosa is unveiling the Danza collection, a reimagining of Spanish designer Jaime Hayon’s iconic designs with vibrant colours and playful forms. Including tables, sculptures and tableware, each piece in the collection is a testament to Hayon’s signature style, characterised by bold lines and whimsical, irreverent details.
When & where: 8–13 April 09:00–18:00
Salone del Mobile, Pav. 22, A36
Roche Bobois x Pedro Almodóvar –Chromatica collection
An exclusive range for French furniture brand
Roche Bobois, the Chromatica collection was created in collaboration with "lmmaker Pedro Almodóvar and his muse, Rossy de Palma. De"ned by its vibrant colours, this unprecedented collaboration pays homage to the auteur director’s amboyant visual universe.
When & where: 8-11 April 10:00–19:00
Durini Design District, Via Felice Cavalotti, 14, M1 San Babila
Florim x Matteo Thun & Benedetto Fasciana –SensiTerre collection
At both Salone del Mobile and Fuorisalone, Florim is presenting a new collection of ceramic ooring and cladding that reinterprets the charm of clay, fusing artisanal tradition with technological innovation.
Receiving the Green Good Design Award 2025, SensiTerre was created by Italian design duo Matteo !un and Benedetto Fasciana.
When & where: 8–13 April, Salone del Mobile: Hall 24, S. Project, Booth D24. Fuorisalone: Florim Flagship Store, Foro Buonaparte 14
Quartzforms – ECOTONE
British brand Quartzforms is revealing the expansion of its ECOTONE surfaces range, a collection made with recycled components, resin derived from biocompound and a crystalline silica content of less than 5% to o er a more sustainable alternative to natural stone.
When & where: 8–13 April 09:00–18:00
Corso Venezia 8, 20121 Milano
Moooi x Nicholas Baker –Haybale Lounge Chair
Moooi returns with not one but two locations during Milan Design Week, with a new store in the city and a stand at Salone del Mobile. !e Dutch brand is presenting its latest collection, the Haybale Lounge Chair with Footstool by Brooklyn-based designer Nicholas Baker.
When & where: 8–13 April 09:30–18:30 Salone del Mobile, Hall 22, A8 & B7 and 10:00–22:00 at Via Filippo Turati 2, 20121 Milano
New from Mara, the Elle Console will debut at Salone del Mobile as an endlessly customisable bookcase and storage unit. A transversal piece like much of Mara’s product catalogue, its L-shaped metal shelves allow the Elle Console to be rotated and recon1gured as desired.
When & where:
8–13 April
09+00–18+00
Rho Fiera Milano, Hall 14, C26
Humanscale –Humanscale Living
For over 40 years, Humanscale has pioneered comfort in the workplace. Now, with Humanscale Living, the brand extends this expertise to workfrom-home life and beyond, with a curated collection including previews of the Di.rient lounge chair, eFloat Quattro table, Sedeo, Freedom and Trea Task Lite.
When & where:
8–13 April
09+00–18+00
Rho Fiera Milano, Pav. 24, D45
Atlas Concorde –Boost Icor
Boost Icor is a stone-e.ect collection created by combining the warmth of limestone with Atlas Concorde's signature style, drawing inspiration from natural stones. 0e collection includes 3D designs developed speci1cally for walls, aiming to blur the boundaries between interior and exterior environments.
When & where: 8–13 April
09+00–18+00
S.Project, Pav. 3, C19–21
Pedrali x CMP –Lamorisse outdoor collection
Italian company Pedrali is presenting the expanded Lamorisse collection in Milan, with outdoor lounge seating designed by CMP ideal for waterfront verandas and shaded outdoor areas. 0anks to a lightweight, stackable frame in extruded aluminium, all elements of Lamorisse collection can be easily disassembled for recycling and repair.
When & where: 8–13 April
09+00–18+00
Rho Fiera Milano, Pav. 24, D30–D38
Fischbacher
1819 x Marcel Wanders –Ancient Memories
In collaboration with acclaimed Dutch designer Marcel Wanders, Fischbacher
1819 has created Ancient Memories, a capsule textile collection and an archaeology of fabrics that journey through time. Product launches at Brera Design District will include Wanders’ Heritage,
Nature’s Dialogue, Pastoral Weave and In1nite Patina.
When & where: 7–13 April
10+00–19+00
Brera Design District, Via del Carmine 9, Milan
Arper –Catifa (RE) 46
Arper is renewing the groundbreaking Catifa collection with Catifa (RE) 46, designed by Lievore Altherr Molina with a shell containing 100% recycled post-consumer and post-industrial plastic. 0is updated range features eight new shades and a cushion made of Breathair®, an outdoor-friendly, entirely recyclable textile.
C'erkenwe'' Design Week returns in Ma(, presenting its usua' bev( of exhibitions and activations, as we'' as the ver( 'atest product innovations. A'ongside a cohort of both estab'ished and up-and-coming
creatives, this (ear’s edition sees CDW diversif( its programme with the introduction of three new venues, each set to p'atform fresh ideas and unique perspectives.
Located in London’s historic Smith1eld Market, at the vibrant heart of the Culture Mile, Studio Smith1eld is the 1rst of three creative event spaces, playing host to the inaugural Mix Morning Sessions - a talks series centred on big ideas to start the day during the fair’s run. 0e second venue, Church of Design, is a 900-year-old, Grade I-listed church which will showcase cutting-edge contemporary design products for public display. Finally, 0e Charterhouse, in Barbican Estate, will be home to an array of design-led exhibitors, the Spanish Collection and the organiser’s primary Conversations at Clerkenwell panel programme.
Ahead of May, we highlight the must-visit exhibitions, thought-provoking discussions and product launches on o.er as part of the +0+' event.
Installations
Arch Revival Pavilion by Hawkins\Brown architects, Webb Yates, Albion Stone and Hutton Stone
Demonstrating stone as a culturally relevant loadbearing architectural medium, a striking pair of freestanding vaulted arches will be installed at Clerkenwell Green. Designed by Hawkins\ Brown and Webb Yates, one structure will be formed from sandstone bricks courtesy of Hutton Stone’s quarries, where the neighbouring arch, made from Heritage Portland bricks, will utilise stone mined from Albion Stone in Dorset. Measuring only 102mm thick, the elegantly crafted structures are set to showcase the versatility of traditional masonry and craft.
When & where: 20-22 May
Clerkenwell Green
Alex Chinneck at The Charterhouse Square
Renowned for his skewed architectural elevations, artist Alex Chinneck brings his 2013 ‘Sliding House’ to London, with the addition of interactive elements for visitors of this year’s Clerkenwell Design Week. Complete with curving bricks and warped windows, Chinneck’s new sculpture revisits the same design language debuted in Margate, this time with the sponsorship of Cleveland Steel, which will be providing structural elements salvaged from a recently demolished building for the project’s construction.
When & where: 20-22 May
The Charterhouse Square
Designing for the Senses by Karndean
Luxury vinyl ooring specialist, Karndean, is set to showcase the power of inclusive design with an immersive installation at its Clerkenwell showroom. Entitled Designing for the Senses, Karndean will highlight how neurodiverse design can create environments that cater to a wide range of cognitive needs through its extensive portfolio of products. Featuring a blend of relaxing neutrals and stimulating patterns, the installation caters to neurodivergent individuals experiencing hypersensitivity and hyposensitivity respectively, demonstrating how design can improve lived experience for all.
When & where: 20-22 May
Karndean Clerkenwell Green
Alex Chinneck at The Charterhouse Square
Arch Revival Pavilion by Hawkins\ Brown and Webb Yates
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Activations
Autex Acoustics
Autex Acoustics will unveil a series of activations at its newly renovated London showroom. 0e week will culminate with the brand’s signature party, AUTEX REVOLVE, held at the legendary nightclub, Fabric, with Groove Armada providing the soundtrack for the evening. Designed in partnership with Sonn Studio, this immersive experience invites guests to enjoy exceptional entertainment in an acoustically optimised setting.
When & where: 20-22 May
Autex Acoustics, 61-67 Old Street
Sustainable Innovation Lounge by Ultrafabrics
Ultrafabrics unveils its Sustainable Innovation Lounge, an interactive experience that takes visitors through the brand's 25-year journey. Key sustainability milestones highlight how Ultrafabrics has revolutionised the production of performance fabrics, without compromising on quality and durability. Guests will gain exclusive insights into Ultrafabrics’ Japanese engineering labs, explore product previews and witness the latest advancements in eco-friendly textile technology. Ultrafabrics invites industry leaders to discover how luxury and responsibility converge in materials that are shaping the future of design.
When & where: 20-22 May Project, St. James’ Church Garden
Design Interventions by sixteen3 x Crown Paints
Sixteen3 and Crown Paints introduce visitors to a series of interactive experiences that raise awareness of sensory impairments, including a large-scale colour matching test, demonstrating how individuals perceive colours di.erently, and sensory moodboarding sessions that exemplify how red and green colour de1ciency and arthritis can a.ect creative output. On 21 May (13:30), Dr. Stephanie Fitzgerald will present ‘Why Does My Brain Like It Here?’, a keynote exploring the neuroscience behind how textures, acoustics and colours in uence comfort and wellbeing.
When & where: 20-22 May sixteen3, 25 Bastwick Street
Orangebox showroom reveal
Debuting at this year’s CDW, Welsh furniture manufacturer Orangebox will unveil a new, state-of-the-art showroom designed with a focus on both people and the planet. Known for its innovative furniture systems, much of the FF&E in Orangebox's current showroom will be reupholstered at the company’s factory in Wales to minimise waste. Designed by Carter Owers Studio, the interior design practice was appointed for its design philosophy of creating spaces that feel ‘profoundly human,’ which chimes to the peoplecentric ethos of the Orangebox brand.
When & where: 20-22 May Orangebox, 250 City Road
Orangebox showroom reveal
Sustainable Innovation Lounge by Ultrafabrics
Design Innovations by Sixteen3 x Crown Paints
work beautifully .
Kody. Showcasing its original and elegant silhouette and known for its versatility, the Kody range comprises a family of chairs and stools for refined work, meeting or break-out spaces, as well as on-trend venues, cafés and restaurants. The stylish separate back pad also ensures flexibility and user comfort.
C
ll Design Week Events
Conversations
MillerKnoll showroom reveal
Located in 0e Sans, MillerKnoll London marks the 1rst major MillerKnoll destination outside the United States and is among several major brands occupying the modernist, three-storey workspace. Organised by the brand, the UK agship is set to include a dedicated studio that acts as a working showroom, uniting numerous designers from 0e Sans’ collective under one collaborative roof. Neutral hues and light wood will create the subtle backdrop for MillerKnoll’s new collections to shine.
When & where: 20-22 May
MillerKnoll, The Sans, 20 St. John’s square
HAY showroom reveal
Motivated by the ambition to o.er aesthetically beautiful, democratic design, HAY set out to innovate new ways to answer the ever-evolving needs of modern living – but at a more accessible price point. Founders Mette and Rolf Hay are committed to working with their generation’s best designers to create high-quality products that are available to a wide audience. Participating at Clerkenwell Design Week for the 1rst time, HAY will be showcasing pieces by Erwan Bouroullec, Doshi Levien and Niels Jørgen Haugesen.
When & where: 20-22 May HAY, The Sans, St. John’s Square
Conran and Partners x Secto Design
Conran and Partners and Finnish lighting brand Secto Design announce their collaboration as part of this year’s event, which will see the design of an elaborate window display and adjoining exhibition at the architecture 1rm’s Clerkenwell studio. 0rough an exploration of Scandinavia’s topography and relationship with light, the activation will feature a triptych of themes - Forest & Materiality, Lakes & Re ection, and Light & Contrast – which aim to evoke the emotions inspired by the Finnish natural environment.
When & where: 20-22 May
Conran and Partners, 30A Great Sutton Street
Mix Morning Sessions
New for 2025, Mix Interiors introduces Mix Morning Sessions. 0is three-day series of panel discussions activates the recently renovated Smith1eld Market – which joins the list of CDW locations for the 1rst time this year, playing home to a host of contract manufacturers and suppliers.
Set to provide a thoughtprovoking start to the day, daily panels ask:
Will AI destroy the design industry? When did sustainability become boring? What is the future of colour?
For more information, including on speakers, as it’s released, visit mixinteriors.com
When & where: 20-22 May, 10+00 daily, Smithfield Market
HAY new showroom at The Sans Window installation and exhibition by Conran and Partners x Secto
Tom Dixon. Credit: Sam Frost
Inspirations: product launches
Conversations at Clerkenwell
Held at 0e Charterhouse for the 1rst time, this year’s Conversations at Clerkenwell will see the auditorium brought to life with rich textiles and ornamentation by design studio Kapitza. Setting the stage for three days of inspiring talks, the programme, curated by brand consultant Katie Richardson, will welcome headline speakers such as Tom Dixon, Faye Toogood and PearsonLloyd, who will share insights into their creative processes, upcoming projects and visions for the future of design.
When & where: 20-22 May
The Charterhouse
Let’s Talk by Tarkett
Let’s Talk is the overarching theme for Tarkett’s Clerkenwell Design Week talks programme, engaging visitors in discussions on a range of vital, timely topics, such as environmental responsibility and social equity. Highlights include Navigating the Emotional & Sensory Experience, a panel which will o.er valuable insights into the intersection of design and individual experience. Interactive sessions on textile reuse and the role of virtual reality in human-conscious design will also be on o.er during the event.
When & where: 20-22 May
Tarkett Atelier, 47-53 St John Street
Bjelin – Woodura Herringbone SVELDI 2.0
Bjelin’s Woodura Herringbone SVELDI 2.0 uses patented technology to make FSCcerti1ed European Oak three times more durable than standard hardwood oors and features the brand’s 5G locking systems for seamless installation that stands the test of time.
When & where: 20-22 May Project, St. James’ Church Garden.
Bene – NOOVO
A reinterpretation of the original co.ee house chair, NOOVO, designed by Form Us With Love for Bene, o.ers interchangeable seat inserts in 1ve di.erent designs, allowing for full customisation. NOOVO’s mono material makeup ensures sourcing and manufacturing are fully traceable.
When & where: 20-22 May
Bene, Harella House, 90-98 Goswell Road
Kapitza NOOVO
Florim x Matteo Thun & Benedetto Fasciana –SensiTerre
Merging craftsmanship with technology, SensiTerre by Florim and Matteo 0un is a modular ooring solution that evokes the textured surface of clay. 0e collection, presented in six shades and four 1nishes, can be arranged in multiple con1gurations for increased versatility.
When & where: 20-22 May
Florim, Grant House, 56-60 St John St
String Furniture x Form Us With Love –Center Center
O.ering a multifunctional storage solution, Center Center connects seamlessly through a perforated surface pattern design. With exible workspaces in mind, it can be stacked vertically or horizontally, with bespoke bolts 1xing each module and accessory to the user’s desired form.
When & where: 20-22 May
String Furniture, Old Sessions House, 23 Clerkenwell Green
Muuto – Strand Table Lamp by Benjamin Hubert
Designed by Benjamin Hubert, founder of LAYER, the Strand Table Lamp is a sculptural design 1tted with a hidden light source that gently illuminates its monolithic form. Available in two sizes, it o.ers versatile placement options, from desktops to oors.
When & where: 20-22 May
Muuto, 28 St John's Square
Mater – Terra lighting
Terra is the new lighting collection designed by OEO Studio for Mater, comprising pendant, wall and portable lamps. Infused with the grounds of Danish co.ee producer, BKI Ka.e, the brand’s Matek™ material technology lends the series a modern, tactile expression.
When & where: 20-22 May
Mater, 144 St. John Street
0' SensiTerre 02 Center Center 03 Strand table lamp 04 Terra Lighting
07 0& 08 06
Caesar Ceramiche –Join
Caesar Ceramiche’s Join collection embraces the simplicity of cement-resin, adding vibrancy through its new for 2025 chromatic palette. Featuring an array of twelve neutral shades and eight accent colours, Join embodies contemporary minimalism for a multitude of applications.
When & where: 20-22 May
Caesar Ceramiche, 17-18 Great Sutton Street
Morgan
– Rakino
Characterised by its angular chassis and owing joints, designer Tim Rundle expands Morgan’s Rakino collection with the brand-new Pedestal dining table and Timber-back dining chair Timber, marble or terrazzo – Rakino table tops are customisable to 1t any space.
When & where: 23-25 May
British Collection
St James's Church EC1R 0EA
RAK Ceramics –Rapolano Marble
Infused with timeless charm, Rapolano Marble is the new collection by RAK Ceramics, inspired by the elegance of marble. Available in a range of muted shades, these porcelain tiles have countless con1gurations for both residential and commercial project use.
When & where: 20-22 May
RAK Ceramics Design Hub, 100 St John Street
Atlas Concorde –Boost Icor
Boost Icor is the new collection of 3D veneers by Atlas Concorde, drawing inspiration from the brand’s archive of natural stones. Fine, compact grains and an exceptional richness of detail ensure joints remain unperceived, ensuring aesthetic continuity across surfaces.
With its sleek assortment of mobile screens and desks, Arches by Bisley empowers o2ce workers to tailor the environment to suit the task at hand. Flexible and moveable, Arches bene1ts from sturdy castors enabling easy mobility around uid, exible workspaces.
When & where: 20-22 May
Bisley, 32 Dallington Street
Stone Designs for Blå Station – Drip
Shaped like a thumbprint in soft clay, Drip sound absorbing wall decorations by Stone Designs for Blå Station reduce ambient noise and echoes in voluminous commercial spaces. With four rotatable parts, Drip marries exible functionality with playful and inviting aesthetics.
When & where: 20-22 May
Blå Station, 3 Albemarle Way
Moventi – Hyde
Moventi introduces Hyde – a new modular booth system suited to both breakout and collaboration settings. Characterised by its sharp, geometric forms, Hyde is a versatile choice for any workplace, owing to its wide range of upholstery and 1 nish options.
When & where: 20-22 May
Moventi, 69 Turnmill Street
Kabin – Kabin 1
In uenced by premium longhaul airline seats, Kabin’s Kabin 1 acoustic pod provides a 1rst-class seating experience for private calls, focused work and moments of relaxation. Kabin Control, a wall-mounted digital touchscreen, allows users to adjust internal conditions to their needs.
When & where: 20-22 May
Design Fields at Spa Fields, Northampton Road
09 Arches '0 Drip '' Hyde '2 Kabin 1
Crafted in Italy using Swiss Engineered ARCHISONIC®
Textile, Noren’s ready-toinstall curtain system is available in 36 colours and four con1gurations. An innovative 5-layer design delivers superior acoustics, with -18dB sound insulation to minimise noise, creating more peaceful, productive environments.
A new acoustic ceiling ba4e by Acoufelt, Flow rede1nes design and performance in commercial spaces. With its rhythmic, wave-like formations, Flow is crafted from high-performance FilaSorb™, delivering superior sound absorption with a Class A acoustic rating.
When & where: 20-22 May
Acoufelt, 1 Old Street
Camira unveils its latest innovation, Lucia T2T, at this year’s Clerkenwell Design Week. A reimagining of the company’s very 1rst postconsumer recycled polyester fabric, Lucia, this latest incarnation includes 100% textile-to-textile recycled waste derived from the apparel industry.
On the centenar( of the design movement, we 'ook back on its influentia' 'egac( and enduring re'evance.
here’s a certain irony to this year’s celebrations of Art Deco’s centenary. In its heyday, the style was vociferously trumpeted as modern – it was also known as 'moderne'. But 100 years on, this multidisciplinary style, which encompassed architecture, art, product design, graphics and fashion peaked in the 1930s, might seem irrelevant and archaic. Yet two of its hallmarks – its clean lines and bold geometric shapes, both enduring signi1ers of modernity –were undeniably disruptive and still feel contemporary.
0ese two attributes were in uenced by Cubism, pioneered in Paris from %(0, 0is revolutionised Western art by rejecting the convention of a single perspective, depicting subjects from multiple angles to suggest more threedimensional forms. Deco was informed
by the dynamic compositions of Cubism’s 1rst phase – Analytical Cubism – that also nodded to a modern era of high-speed travel and by its later iteration, Synthetic Cubism, typi1ed by simpler forms and brighter colour. Deco was also inspired by the uid, vibrant dresses of Paris couturier Paul Poiret and by Léon Bakst’s amboyant costumes for the Ballets Russes that took Paris by storm in %(0,
0e Deco style had been bubbling up since the %(%0s, so it’s misleading to suggest, as some media coverage does, that it emerged fully formed in %(+'. In fact, the centenary marks the 100th birthday of landmark Paris exhibition, the Exposition Internationale des Arts Décoratifs et Industriels. 0e term Art Deco, a snappy derivation of the show’s title, was coined then too.
Image on previous page: Viyella showroom designed by Betty Joel, 1933. Credit: Humphrey and Vera Joel
Left: Jeroen Markies’ Art Deco exhibition at The Decorative Fair, London
Right:
The lobby of The Daily Express designed by Betty Joel, 1932. Credit: Humphrey and Vera Joel
0at said, the Paris Deco-showcasing extravaganza put the movement on the map. Hosting 15,000 exhibitors from 20 countries, it highlighted the style’s global reach. It also laid claim to utter originality – all submitted “reproductions, imitations and counterfeits of ancient styles”, it declared, were declined. 0is was somewhat delusional, however, since Deco also embraced traditional motifs that verged on the twee, including oral garlands and fauns.
What’s more, Deco was steeped in historicism, exoticism and primitivism. It drew inspiration from Africa, Asia, Greece and Rome and, after the discovery of Tutenkhamun’s tomb in %(++, Egyptian motifs – all blended with modernism. Purist modernists, however, derided
Deco’s ornamentation as jejune; Le Corbusier tutted in his %(+' book, L’Art Décoratif d’Aujourd’hui: “0e more cultivated a people becomes, the more decoration disappears”.
“The more cu'tivated a people becomes, the more decoration disappears.”
— Le Corbusier
Deco blossomed in India, says Charu Ghandi, founder of interior design studio Elicyon, which has designed a luxuriously Deco-inspired apartment in new development 60 Curzon, in Mayfair. She cites Marine Drive, in Mumbai, whose Deco landmarks include the Eros Cinema of %(3), in particular. “0e movement arrived in India when the country’s elite was embracing global in uences, commissioning residences with an international outlook that was rooted in Indian craftsmanship. Indian Deco incorporated local motifs inspired by temple carvings, such as stylised peacocks.”
Another disruptive aspect of Deco was its break from its predecessor Art Nouveau. “Deco embraced the early 20thcentury machine age to produce angular
“Deco’s sty'e sti'' appea's as it suits our more c'ean'ined 'ives and obsession with dec'uttering.”
‘moderne’ shapes,” says Michael Je.rey, 20th-Century Design Specialist at auction house Woolley & Wallis in Salisbury, which held a sale called Art Deco Centenary (%(+'5+0+') including Clarice Cli., in March. “It broke with Art Nouveau’s oriform objects, which used natural materials predominantly.”
“A major inspiration on Deco was architect Josef Ho.mann, co-founder of Viennese workshop Wiener Werksätte,” says Jeroen Markies, owner of antique shop Jeroen Markies Art Deco in East Sussex and a regular exhibitor at the thrice-yearly Decorative Fair at Battersea Park, London. “When Deco
1rst appeared, people used to wingback chairs were reluctant to embrace it. But it had a big in uence. In the %(+0s lifestyles became more informal. 0e co.ee table we take for granted took o. then. People lounged on oor cushions, listening to the gramophone.”
A growing number of women designers in the interwar years, such as Betty Joel, addressed practical needs.
“After the First World War, women became more independent,” says Clive Stewart-Lockhart, Joel’s greatnephew and author of new book Betty Joel – Furniture Maker Designer and Businesswoman in %(+0s and %(30s
Left: Marquetry cabinet with mother of pearl inlay, 1925. Credit: John Englefield
Britain (Token Press). Joel designed Deco interiors for hotel 0e Savoy and 0e Daily Express building. “Betty was conscious of designing furniture that wouldn’t gather dust and be easy to clean, such as tables on plinths not legs.”
Deco revivals over the years testify to its enduring appeal. A renewed interest in it was spearheaded by the %(&& exhibition, Les Années 25: Art Déco, Bauhaus, Stijl, Esprit Nouveau, at Paris’s Museum of Decorative Arts; and by Bevis Hillier’s %(&) book, Art Deco of the 1920s and %(30s. In the %(,0s, Barbara Hulanicki’s Biba label was intoxicated by %(30s Hollywood glamour, while Yves Saint
Laurent and partner Pierre Bergé were avid collectors of Deco furniture. More recently, London’s Victoria & Albert Museum’s +003 blockbuster exhibition, Art Deco—%(%05%(3(, shone a spotlight on the style once again.
0e simplicity underpinning Deco has given it lasting relevance. “One contemporary designer who channels the style today is Raphaël Navot, whose re1ned work aligns with Deco’s craftsmanship and elegance,” says Gandhi. “We’ve used his pieces in our projects.”
“Deco’s relatively stripped-down style still appeals as it suits our more clean-lined lives and obsession with decluttering,” believes Stewart-Lockhart. Original Deco pieces remain popular, Je.rey points out: “We’ve always had dedicated collectors of Lalique and Clarice Cli.. But with the buzz around the centenary, we may see more collectors, wishing to be in on the trend, bidding on lower value pieces.”
Use your Imagination
Patrick McCrae is the co-founder and CEO of Artiq, a London-based art agency that puts art to work in settings outside of the gallery; from workplaces to hospitality. artiq.com @artiqgram
I recently attended my 1rst murder mystery dinner party. 0e whole evening was hilarious. As it unfolded, I found myself playing a character that was, amusingly, an even camper and more exaggerated version of myself. 0e host had written the entire script from scratch. I laughed at how he had magni1ed my quirks for comedic e.ect. Embodying a completely di.erent persona was a wonderful exercise and made me think about imagination. How do we tap into our imagination? Where do we draw inspiration from? Can we train it? And why, sometimes, do we forget to use our imagination, simply assuming that things must be done in a certain way because they always have been?
To truly use your imagination is one of the greatest human characteristics. It’s the root of creativity and the gap between us and automation.
I’m lucky to be surrounded by people who thrive on using their imagination — to create, to question, to hold a mirror up to our world and present alternatives, to look at what has been done before and not assume it will be done that way in the future.
Yet, despite its undeniable impact on progress, creativity is often undervalued because it doesn’t 1t neatly into traditional measures of
success. You need look no further than front page news each day to see e2ciency, logic and short-term results favoured over long-term exploration, imaginative thinking and investment into culture.
Creativity is often mistakenly seen as the domain of artists rather than a fundamental skill for problem-solving. Businesses and governments, driven by immediate 1nancial returns, often overlook the long-term bene1ts of investing in creative thinking. Imagination, by its very nature, is intangible and uncertain — di2cult to quantify and, as a result, easy to dismiss. Impatience for quick, measurable results can undermine the power of creativity, which doesn’t always manifest in a linear way.
Gilles Deleuze’s concept of rhizomatic thinking o.ers a useful framework, one that embraces non-linear, interconnected growth, where ideas evolve unpredictably and emerge from multiple points, rather than following a rigid, top-down structure. Rhizomatic thinking challenges the traditional approach to progress, showing that creativity thrives in networks of exploration rather than in straight paths.
I often 1nd myself saying, ‘hold your nerve.’ When pressure mounts, there’s a temptation
to retreat to the familiar and to prioritise speed over originality. To hold your nerve means to resist the urge to rush to a 1nished result and instead allowing yourself and those around you the time to imagine and create something new.
Our imagination is one of the most powerful tools we have for navigating our unpredictable world and, like any muscle, creativity and imagination can be strengthened. 0eories like rhizomatic thinking, design thinking, creative problemsolving, the Innovator's Dilemma, Mel Rhodes’ 4Ps, open innovation, and lateral thinking all have their place. But so does working on our own creativity and being open to a bit of daydreaming. We can get a six-pack imagination. 0e key is in consistent practice.
0e easiest and probably most enjoyable way is to surround ourselves with imaginative people: those who challenge conventions, ask 'what if?’ and see the world di.erently.
Creativity is deeply human: it thrives in conversation, collaboration and shared experiences, bringing a lightness to life that reminds us of endless alternatives. By nurturing our imagination in our everyday lives, we open ourselves to fresh perspectives, innovative solutions, and a richer, more meaningful experience of the world.
Luiz Albisser
Material Matters
Luiz Albisser is a Basel-based designer specialising in interiors, scenography and object design. With an interest in adaptive reuse and craftsmanship, his clients include Art Basel and Universal Music.
luizalbisser.com
@studioluizalbisser
Aluminium
Aluminium is light, precise and endlessly adaptable. You can cast it, extrude it, stretch it and re1ne it to extreme detail. It works for everything from minimal geometric designs to the most complex forms. It’s also a material of cycles –scraps re-enter production, repurposed without loss. Industry pro1les can become architecture, objects, something entirely new. It holds very speci1c aesthetic qualities, both cold and warm, shifting texture with the light.
Glass
Glass and its morphic behaviour are unique. It starts as granules, melts into uid in the furnace, then hardens and becomes transparent. Metals are added to create colours. Working with glassblowers is special – you can tell them what you want, but the rest happens as you work; the process leads and chance is integral to it. I 1nd glass magical, with its varying transparency, re ective surfaces and endless shapes; you can look through it or 1nd yourself in the mirror.
Wood
As a Swiss Brazilian designer, wood plays a crucial role in my practice. I’ve worked with it in both industrial and artisanal processes. It’s the archetypal material of construction – beams, pillars – but also malleable, transforming a wall into a closet for example. It's warm, our hands and feet are used to touching it and its smell is just so familiar. Wood also connects us to the unbuilt, to the forest – regenerative by nature, it grows, is cut, transformed and reused.
PET
PET has a transformative power, turning consumer waste into re1ned products. It’s amazing how materials like 1shnets or plastic bottles can be repurposed into carpets and other items, showing the potential of real recycling. 0is ability to repurpose these materials o.ers an exciting path for sustainability, closing the loop and giving old materials a second life.
Material Innovation
Glazing over
Resilica
Born from a pioneering universit( project, independent British brand RESILICA® upc(c'es postconsumer and post-industria' g'ass into premium, VOC-free g'azed surfaces, made b( hand in Hastings.
At the She2eld Hallam University Research Institute in %((,, the widespread problem of businesses and individuals stockpiling glass inspired a pioneering solution. At the time, a new land1ll tax meant that it was too costly (both 1nancially and environmentally) to dispose of waste or surplus glass – an issue which moved the founders of British surfaces manufacturer RESILICA® to set up shop in a small, shared workshop in the back streets of Hackney in +00%. Following four years of research and development, the edging team received their 1rst commission from renowned architect Sarah Wigglesworth, whose eco-build Straw Bale House was featured in the 1rst series of Grand Designs that same year.
0e UK’s 1rst recycled glass surfacing material, RESILICA® is now made to order and poured by hand at a glass recycling and processing plant in Hastings, East Sussex, and consists of approximately 85% recycled glass bonded together with a bespoke polymer system. 0e 1nal product is VOC-free, stain-resistant, non-porous and remarkably durable, creating a signi1cantly more sustainable
alternative to traditional stone. Unlike quartz and other engineered stone surfaces, RESILICA® also contains zero respirable crystalline silica, reducing the common health risks often associated with both fabrication and installation. Operating for over 20 years, RESILICA® has built up a vast archive of over 900 custom colour recipes, and the brand is increasingly being invited to a project’s demolition stage to create new surfaces from existing materials for the next occupier’s design scheme.
Alongside the product itself, RESILICA®’s manufacturing process is also designed with sustainability in mind: at its Hastings facility, water used in production is recycled where possible using minimal embodied energy, and slabs are cast to size to minimise waste cut-o.s. Certi1ed as food safe, these circular surfaces are continuing to give new life to discarded glass across a host of high-tra2c environments, from kitchens, sta. tea points and receptions to bars, retail counters and bathrooms.
resilica.com
The designer
Stockho'mbased design studio Note works across a variet( of discip'ines, ranging from architecture and interiors to product and graphic design.
The concept
‘Beauty is in the eye of the beholder.’ Depending on what perspective you see something from, the experience – and the appreciation of that experience – changes from individual to individual. Drawing inspiration from RAK’s Maximus Grey Antique collection, the cover sees the intricacies of a stone surface suddenly change into a rich, craggy landscape of mountains and frozen lakes.
Stone is a natural material with its inherent qualities and imperfections making it unique and beautiful – just like the earth beneath us. Note intended to highlight the irregularity of the patterns found in natural materials by introducing a small, unexpected element, ipping the viewer’s preconceived notion of what they’re looking at on its head. Representing the approach and personality of Note, the multidisciplinary studio used RAK’s new product line as the springboard to demonstrate nuance, complexity and that little, joyful ‘A-Ha’ moment that design often creates.
notedesignstudio.se
The manufacturer
Innovation lies at the centre of RAK Ceramics' philosophy. 0e company leads the way in pioneering cutting-edge technologies that mark signi1cant advancements in the surface design industry.
Geological formations were the driving force behind Maximus Grey Antique – a new collection of porcelain tiles from RAK Ceramics that embraces the art of mix and match, through richly pigmented surfaces and a harmonious blend of marble, stone and cement. rakceramics.com
The Mirra® 2 Chair is turning heads again
The Mirra 2 Chair just keeps getting better. How?
We updated the chair so it’s 30 percent lighter than the original Mirra – and the chair’s nylon base and spine are now 100 percent recycled content. We also gave it a fresh, inspired colour palette so it can look professional, casual, or sporty. One thing that hasn’t changed is the flexible yet supportive design that allows your body to move naturally and freely – the way it was meant to move.
Miro is a sustainably designed dynamic monitor arm that enables precise and effortless adjustment.
