Tag Archives: Exhibitions

ecal x Google Just Imagined 10 Phones Beyond the Slab

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At ECAL’s collaboration with Google’s Industrial Design team, the smartphone is no longer treated as a fixed icon of consumer tech. In A Message from Tomorrow, it becomes something far more fluid, a design question that deserves to be reopened. The brief invited ECAL’s Master Product Design students to develop mobile-focused concepts inspired by daily rituals, with an emphasis on storytelling and the human dimension of technology. That framing gives the exhibition its real energy. Instead of chasing the usual upgrades in speed, resolution, or sleekness, the projects ask how mobile devices might evolve if they were designed around touch, companionship, movement, energy, and the subtle gestures that shape everyday life.

That shift feels especially relevant now. Smartphones have absorbed nearly everything, from cameras and maps to notebooks, music players, and assistants, yet the object itself has become strangely stagnant. For all the complexity hidden inside, the form remains stubbornly familiar, a smooth slab built around endless visual attention. A Message from Tomorrow pushes against that stagnation by imagining mobile hardware as a much broader territory. Here, devices can be expressive, self-sufficient, spatial, tactile, or emotionally responsive. The exhibition does not present one neat answer to the future of the phone. It presents a series of alternate directions, each exposing something our current devices no longer do well.

Deigner: ECAL/University of Art and Design Lausanne x Google ID

One of the show’s strongest ideas is that the future of mobile technology may not be screen-first at all. Several projects deliberately loosen the screen’s dominance and focus instead on sound, physical presence, or integration with the surrounding world. Sound Machine, by Xose Lois Piñeira, rebuilds the phone around voice. Its 3D-printed aluminum lattice body is acoustically transparent, allowing sound to move through a layered assembly while a contact transducer on the back transmits audio through surfaces or through the body when worn against the sternum. A small circular screen handles only the essentials. It is a compelling proposition because it refuses the idea that a phone must always function as a miniature display first and everything else second.

Liminal Frame, by Ehrat Lee, offers another escape from flat-screen logic. Its four-layer display can shift between opaque and transparent states, letting digital content coexist with the physical world rather than replacing it. The device allows users to look through the phone, place information in space, and return to it later without relying on a headset. It turns the phone into a kind of portal rather than a closed surface. In a moment when spatial computing is often imagined through bulky wearables, this project feels especially elegant. It suggests that the phone itself could evolve into a lighter and more natural bridge between digital and physical experience.

Some of the exhibition’s most memorable concepts explore personality as much as function. Robin, by Gyuhan Park, imagines a mobile device modeled on pet-bird behavior. Cameras become eyes, a beak-like feature acts as sensor and speaker, and the object communicates like a companion rather than a conventional assistant. It can tease, joke, or sulk while also helping with planning, messages, and everyday tasks. The concept is playful, but it also raises a serious question about the future of devices. As AI becomes more embedded in daily life, will our relationship with technology become less transactional and more behavioral.

That same willingness to rethink familiar habits appears in The Finger Phone by Hugo Von Hofsten. Starting from the frustration that phones always need to be held, it introduces an animated finger-like extension carrying a camera, light, and touchpad. The idea is delightfully odd, but also surprisingly practical. It imagines a device that can stand on its own, assist in small moments, and illuminate more than just its own screen. In a market dominated by polished uniformity, The Finger Phone feels refreshingly unconcerned with conventional elegance. It is willing to be useful, strange, and memorable all at once.

The exhibition also includes projects that challenge the smartphone’s dependence on charging infrastructure and standardized use cases. Rove, by Moritz Engel, is designed for off-grid wilderness and uses a pull-cord system to generate power through an axial flux generator. One minute of pulling creates twenty minutes of battery life, while the Dyneema cord doubles as a carrying strap and the spool becomes a tactile control wheel. Dyno, by Julia Siebert Cáceres, tackles the same problem from a more everyday angle, using body movement and electromagnetic induction to generate electricity throughout the day. Its visible rotor and magnet system make the act of charging tangible rather than hidden, giving the device an honesty that most sealed electronics lack.

Other projects focus on what the phone means as a physical object in domestic and personal life. Everydaycarry, by Motong Yang, critiques the smartphone as a standardized entity that contains everything yet expresses very little. It proposes a more adaptive device whose character can still reflect the identity of the person carrying it. Totem, by Paul Quentin, reshapes the phone into a wedge so it can function more naturally as a tabletop object for video calls, media viewing, or AI assistance. When laid flat, its edge becomes a subtle notification interface. These projects are not simply formal experiments. They rethink how devices occupy space, signal presence, and fit into routines beyond the hand and pocket.

Then there is Stone Phone by Gunnar Kähler, one of the exhibition’s most quietly affecting concepts. Inspired by the instinctive act of picking up a stone from a beach or riverbank and choosing the one that feels right in the hand, the project imagines smartphones in an endlessly varied range of shapes. Instead of accepting industrial uniformity as a given, Stone Phone suggests that users might choose a device based on texture, comfort, and tactile pleasure. It blurs the line between archaic tool and advanced technology, making the smartphone feel less like a mass-produced command and more like a personal object discovered through touch. In a show full of speculative gestures, this one stands out for its simplicity. It reminds us that before a device does anything, it is first something we hold.

What makes A Message from Tomorrow compelling is not that every concept seems ready for mass production. It is that each one identifies a real tension in our relationship with mobile technology and gives it a physical form. Together, the projects reveal how narrow the current smartphone archetype has become. More importantly, they show that industrial design still has the power to meaningfully reshape our technological future. In an era when innovation is often framed as software alone, this exhibition argues that form, material, behavior, and ritual still matter deeply.

The post ecal x Google Just Imagined 10 Phones Beyond the Slab first appeared on Yanko Design.

Issey Miyake’s Most Beautiful Material Was Always the Scrap

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If you’ve ever watched the pleating process behind ISSEY MIYAKE’s iconic garments, you already know it’s one of the most satisfying things in fashion. The fabric goes in, it comes out textured and alive, and for decades, that has been the whole story. Satoshi Kondo, one of the design directors at MIYAKE DESIGN STUDIO, chose to flip the script. He looked not at the pleated garment coming off the machine, but at what was left behind: compressed rolls of wafer-thin paper, stacked and destined for the bin.

The result is The Paper Log: Shell and Core, a special exhibition running at the ISSEY MIYAKE Milan store this April, timed to coincide with Milan Design Week 2026. And it’s the kind of project that makes you want to rethink every process you’ve ever considered mundane.

Designer: Satoshi Kondo of MIYAKE DESIGN STUDIO

The paper in question is a production byproduct. These thin sheets are used to protect the fabric as it moves through the pleating machine, and when the garments are done, the sheets are rolled up, compressed, and typically moved off-site for recycling or disposal. What Kondo noticed during a visit to the manufacturer, though, was that these rolls look like logs. Not metaphorically, but structurally. Each compressed roll stands 80 cm tall and 40 cm wide, and when you look at the end of one, the layered paper creates a marbled, circular pattern that resembles the growth rings of a tree. Hence the name.

That visual parallel carries real weight. The Paper Log doesn’t just look like a tree trunk; it shares its logic. Growth rings mark time in a living thing, and the layers of the Paper Log carry the memory of every garment made at the house. It’s a surprisingly poetic idea from an industry that usually discards its footnotes.

For the exhibition, Kondo brought in Spanish architecture office Ensamble Studio to develop two distinct bodies of work from the same material. The first, Shell, takes the paper log apart and treats it like a sculptural material, creating crisp, delicate objects that feel frozen mid-process. They’re almost ghost-like, holding a shape the way paper holds a crease. The second body of work, Core, goes in the opposite direction. Here the paper is treated as structure, forming actual furniture prototypes including stools, chairs, and tables. Robust and handcrafted, these pieces sit in direct contrast to the fragility of Shell, and that tension is very much the point.

The installation is arranged throughout the store to play Shell and Core against each other, presenting opposing ideas side by side: ephemeral versus concrete, delicate versus robust. I find this curatorial framing genuinely effective. It’s rare to see a single waste material handled in ways that feel this philosophically distinct, and rarer still to see a fashion house direct that kind of rigorous design thinking toward something that would otherwise not exist at all.

What makes The Paper Log worth your attention beyond the visual spectacle is the quiet insistence that process deserves as much consideration as product. Issey Miyake has always been a house obsessed with how things are made. The pleating technology itself is a kind of philosophy, a belief that the mechanics of creation are as meaningful as the finished object. Applying that thinking to the waste materials of that same process feels less like an act of sustainability and more like an act of honesty.

Whether or not furniture made from fashion scraps becomes a commercial category (and it absolutely could), The Paper Log: Shell and Core operates primarily as a provocation. It asks what we overlook when we’re focused on the final product, and suggests that the answer might be the most interesting material in the room. The exhibition runs at the ISSEY MIYAKE Milan store on Via Bagutta 12, from April 21 to May 5, 2026.

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Janny Baek’s Ceramics Look Like They’re Still Evolving

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Most ceramic art asks you to admire it from a distance. Janny Baek’s work makes you want to lean in closer and check if it’s breathing. Her upcoming solo exhibition, Life Forms, opens at Joy Machine gallery in Chicago on March 20, running through May 9, 2026, and from everything I’ve seen of it, it might be one of the more visually arresting shows to land this spring. The pieces gather across the gallery space like inhabitants of an ecosystem you’ve never visited but somehow recognize. Some forms open outward like blossoms. Others stretch upward with limbs that suggest wings, or stems, or shells. None of them fully commit to being any one thing, and that’s exactly the point.

What makes Baek’s ceramics so compelling is the feeling that the firing process didn’t quite finish the job. The sculptures look caught mid-transformation, as though another hour in the kiln might have resolved them into something more familiar. Instead, they hold their ambiguity like a posture. That deliberate incompleteness is one of the most interesting creative choices an artist can make, and Baek has built an entire body of work around it.

Designer: Janny Baek

Her path to ceramics is almost as unusual as the work itself. Born in Seoul and raised in Queens, she studied ceramics at the Rhode Island School of Design before taking a turn into animation and toy design as a sculptor. Then she earned a graduate degree in architecture from Harvard, co-founded an architecture practice in Manhattan, and spent years designing high-end residential spaces. When the pandemic hit, she returned to clay, setting up a studio in the back of her Flatiron District architecture office. The ceramics world should be grateful for the timing.

That architectural background isn’t incidental. You can see it in the structural logic of the pieces, which begin with coiled bases and build upward through successive additions of clay, each element branching from the last. The result is less like sculpting and more like construction, or perhaps like watching something grow. Her larger work, Plant Life (2025), stoneware with colored sections rising from white shoots, reads almost like a site plan for a garden on a planet where the plants decided to do their own thing.

The technique she relies on is nerikomi, a traditional Japanese method that involves stacking clay of different colors and slicing through it to reveal the pattern within. But Baek’s application of it feels more contemporary than the technique’s origins might suggest. Color, in her hands, is structural rather than decorative. It moves through the clay like a current, not like paint on a surface. She has described color gradients as “the continuous nature of change,” and a multitude of colors as “potential, abundance, and vitality.” That framing matters. It tells you the work isn’t just pretty, it’s philosophic.

The piece titles reinforce this. Micro-organisms, Glow Sticks, and Outer Galaxies. Prismatic Walking Cloud. 5 Eyes (Dream State Series). Cloudbloom. They read like entries in a field guide to a world that hasn’t been discovered yet, which is probably the most accurate way to describe what Baek is building. Her ceramics operate on what one description of the work calls “dream logic, one that accepts incongruity and dissonance as necessary to play and experimentation.” That’s a generous creative framework, and it shows. The work never feels confused or unresolved. It feels deliberate in its strangeness.

What I find most refreshing about Life Forms is that it doesn’t ask you to bring any specific context to it. You don’t need to know the theory behind nerikomi or have an opinion about contemporary ceramics to stand in front of one of these pieces and feel something. They work on a more basic level, the level of looking at something unfamiliar and recognizing it anyway. Like you’ve seen its kind before, somewhere between a dream and a nature documentary.

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When Loss Becomes Something You Can Touch

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There’s a particular kind of quiet that settles after a wildfire. Not peaceful, not comfortable, just a heavy stillness where something used to be. In January 2025, the Eaton Fire burned through Altadena in the foothills of Los Angeles for twenty-five days, taking nineteen lives and destroying more than 9,000 structures. It became the second most destructive wildfire in California history, leaving behind charred earth and the skeletal remains of trees that once shaded neighborhoods and backyards.

A year later, at Marta gallery in Los Angeles, 22 local artists and designers are doing something quietly radical with what’s left. The exhibition “From the Upper Valley in the Foothills” transforms salvaged wood from those burned Altadena trees into chairs, stools, benches, bowls, and other functional objects. Curated by sculptor Vince Skelly with material support from Angel City Lumber, the show runs through January 31st and offers a different kind of memorial.

Designer: Vince Skelly (curator)

This isn’t your typical tribute. There are no plaques, no somber photographs, no distance between you and the disaster. Instead, you’re invited to sit on it, hold it, contemplate it. The wood itself, sourced from species like Aleppo pine, cedar, coastal live oak, and shamel ash, carries visible traces of fire damage, smoke marks, and irregular grain patterns. Each piece holds a kind of double existence: both the tree it was and the home it might have shaded.

Skelly wanted the exhibition to feel like a true community response, so he focused on local designers and artists who each had their own experiences with the fires. The resulting collection is remarkably varied. Some pieces lean sculptural and contemplative, others embrace pure functionality. There’s Doug McCollough’s decorative bowl, Tristan Louis Marsh’s floral stool, and Base 10’s Watari bench, each handling the material’s history differently.

What makes this work compelling is the tension between destruction and creation. Angel City Lumber, a local mill that sources downed trees for community projects, collected the wood cleared from Altadena after the fire. By transforming debris into design objects, the exhibition reframes devastation not as an ending but as an uncomfortable, complicated beginning. The burned wood becomes a vessel for memory, loss, and whatever regeneration might look like.

Function here isn’t just practical. It’s conceptual. These chairs and benches aren’t simply places to rest, they’re propositions about how devastated spaces might once again support everyday life. The act of sitting on a stool made from fire-damaged oak becomes a small gesture of reclamation, a way of saying that what was lost can still hold weight, still serve a purpose, still matter.

The exhibition also raises quieter questions about the role of artists and designers during climate instability. Is it enough to make beautiful objects from catastrophe? Does craft honor the loss or aestheticize it? The show doesn’t offer easy answers, but it does suggest that making something useful from what remains is its own kind of resistance. There’s dignity in refusing to let devastation be the final word.

Marta’s presentation feels particularly resonant because it acknowledges that these objects are meant to be touched and experienced, just like the forests they come from. In an era when wildfires are becoming annual events and California’s landscape is increasingly defined by cycles of burning and rebuilding, this direct engagement feels necessary. The wood doesn’t let you forget what happened, but it also doesn’t let you look away.

What stays with you after visiting “From the Upper Valley in the Foothills” isn’t any single piece but the cumulative effect of seeing 22 different responses to the same material. Each designer grappled with the same scarred wood and found their own way through it. Some leaned into the damage, others smoothed it away. Some made monuments, others made chairs. Together, they create a portrait of a community trying to process an event that reshaped not just the landscape but the psyche of an entire city.

The exhibition is both memorial and workshop, grief and pragmatism sitting side by side. It suggests that sometimes the best way to honor what’s lost is to build something from the wreckage, to take what the fire left behind and give it a second life. Not as a replacement for what was, but as a reminder that even in the aftermath, there’s still wood to work with, still hands to shape it, still a future that needs furniture.

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Industrial Wire Mesh Transforms Traditional Tea House

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There’s something deeply poetic about watching light pass through layers of colored wire mesh, each one adding a new dimension of color and shadow until you’re not quite sure where the walls end and the air begins. That’s exactly what Japanese architect Moriyuki Ochiai wants you to experience with his latest installation, a tea ceremony house that reimagines one of Japan’s most sacred cultural traditions through an unexpectedly industrial material.

Instead of the typical wooden walls and paper screens you’d expect in a traditional tea house, Ochiai wrapped his structure in layers of diamond-shaped wire mesh, each one a different color. It’s the kind of material you’d normally see around construction sites or industrial facilities, not places of quiet contemplation and ritual. But that contrast is precisely what makes this installation so striking.

Designer: Moriyuki Ochiai (photos by Daisuke Shima)

The traditional tea house has always been about creating a contained microcosm, a small world where every detail is carefully considered to heighten your awareness and bring you into the present moment. Ochiai respects that fundamental principle but completely reframes how it works. Rather than using solid boundaries to create enclosure, he uses layered transparency. The result is something that feels simultaneously open and intimate, grounded and ethereal.

What happens when you layer multiple sheets of colored wire mesh is honestly kind of magical. Light doesn’t just pass through, it gets transmitted, reflected, and diffused across the interior in constantly shifting patterns. As you move through the space, the mesh layers create changing optical depth and spatial ambiguity. Stand in one spot and you see one configuration of color and light. Take a few steps and everything transforms. The installation responds continuously to your movement and viewpoint, making you an active participant in the experience rather than just an observer.

This isn’t Ochiai’s first experiment with unconventional tea house designs. He’s previously created installations like the “Constellation of Stargazing Tea Ceremony House,” showing a continued interest in how traditional Japanese cultural spaces can be reinterpreted for contemporary contexts.

What makes this wire mesh installation particularly relevant right now is how it speaks to broader conversations happening in design and architecture about materiality, transparency, and the relationship between interior and exterior spaces. We’re seeing more designers question the conventional boundaries between inside and outside, public and private, solid and void. Ochiai’s tea house takes those questions and filters them through a specifically Japanese cultural lens.

There’s also something to be said about the choice to use such an industrial, utilitarian material for such a refined, spiritual purpose. In Japanese aesthetics, there’s a long tradition of finding beauty in unexpected places and everyday objects. The tea ceremony itself was developed partly as a way to appreciate simple, rustic materials and unadorned beauty. By wrapping a tea house in construction-grade wire mesh, Ochiai is working within that tradition while also pushing it forward.

The semi-transparent environment he creates challenges our expectations about what a contemplative space should look like. Most meditation rooms and spiritual spaces emphasize solid, quiet boundaries that shut out the world. Ochiai’s installation does the opposite. It filters the world, refracts it, transforms it, but never fully blocks it out. You remain aware of your surroundings even as they become abstracted through layers of colored mesh.

Photographed by Daisuke Shima, the installation becomes a study in how light and material can work together to create atmospheric effects that shift between architectural intervention and art installation. It’s the kind of project that makes you reconsider what you thought you knew about traditional cultural forms and how they might evolve without losing their essential character.

In an era when so much of design feels like either nostalgic reproduction of the past or aggressive rejection of it, Ochiai’s wire mesh tea house offers a different path: respectful innovation. He’s not trying to preserve the tea house in amber, nor is he discarding its principles. Instead, he’s asking what those principles might look like when expressed through contemporary materials and sensibilities. The answer, rendered in layers of colored industrial mesh, is surprisingly beautiful.

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Louis Vuitton Celebrates Their 20 Year Collaboration With Frank Gehry At Art Basel Paris 2024

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For the 2024 edition of Art Basel Paris, which took place from October 18th to October 20th, Louis Vuitton celebrated Frank Gehry and his incredible works. They displayed his massive white fish lamp and other creations inside the Grand Palais. Frank Gehry and Louis Vuitton have collaborated for over 20 years together. Gehry was the brains of the architectural wonder, the Maison Louis Vuitton Seoul, which showcases a stunning glass-covered exterior and fluid lines. Gehry also made a collection of stoppers for the Les Extraits perfume bottles in 2021, and in 2023, Vuitton displayed Gehry’s debut collection of handbags at Art Basel Miami. So it is no surprise, that the brand decided to embellish the Balcon d’Honneur with his lighting design. A wooden arch that Gehry displayed at Gagosian New York is placed around the monumental fish lamp. The arc is built from slats placed in geometric patterns.

Designer: Louis Vuitton x Frank Gehry

The white fish lamp isn’t the only work by Gehry that has been displayed. The lamp is teamed up with many of his collaborations with Louis Vuitton, including the aforementioned handbag range from Art Basel Miami. These beautiful bags are protected by glass, giving visitors a clear and concise vision of them. The bags draw inspiration from the architect’s style and design philosophy, which is marked by flowing lines and ballooned shapes.

The Capucines Mini Blossom and Mini Puzzle bag have been displayed, and other bags such as the Capucines MM Concrete Pockets BB Analog, and BB Shimmer Haze – bags that are inspired by architecture he has designed such as the Guggenheim Museum in Bilbao, Spain, the Walt Disney Concert Hall in Los Angeles, the IAC Building in New York City, and the Museum of Pop Culture in Seattle.

Louis Vuitton’s Monogram canvas trunk is iconic, and Frank Gehry designed his version of it in 2014. The collection is called the Celebrating Monogram, and it was unveiled for the Maison’s 160th anniversary. The trunk is called the Twisted Box, and it truly does have a twist, it almost looks kind of deformed, yet appealing. Visitors will get an opportunity to glimpse this unique and iconic trunk design as well.

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Design Mumbai 2024: Ready to Unleash Its Design Spirit at Jio World Garden

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Mark your calendars: from November 6-9, the vibrant city of Mumbai will transform into a hub of international design creativity with the arrival of Design Mumbai 2024. Set against the lush backdrop of Jio World Garden, this event is India’s first international contemporary design show. If you’re into cutting-edge lighting concepts and meticulously crafted furniture or want to glimpse the future of design, this is where you’ll want to be. Designer to the above picture: Obeetee

Event Dates: 6-9 November 2024.

A Platform for Global and Local Talent

Presented by JSW Paints, the event gives local and international talent a platform to showcase the latest trends in design and craftsmanship. Expect a mix of the finest independent Indian designers alongside global icons, curated into a four-day showcase that brings a unique flavor of creativity to the heart of Mumbai. From installations by JSW Paints to a look at Royal Enfield’s latest take on the Classic 350, Design Mumbai is shaping up to be a must-visit for anyone passionate about creativity.

JSW Paints’ involvement as the Presenting Partner of Design Mumbai brings an added visual spectacle. AS Sundaresan, Joint MD & CEO of JSW Paints, shared, “At JSW Paints, innovation and ‘Think Beautiful’ is at the heart of everything we do. We’re delighted to present Design Mumbai 2024, which will transform Jio World Garden into a vibrant celebration of colour and creativity.” Their participation aims to create a visually inspiring event, encouraging everyone to reimagine their spaces boldly and beautifully.

Designer: andblack

Highlights and Exhibitors

Co-founder Ian Rudge describes the event as a milestone for India’s design community. “This event marks a significant milestone for India, offering an international platform unlike anything seen before. We’re bringing a whole host of innovative and pioneering designs to the show, along with specially commissioned installations from key partners such as JSW Paints and Royal Enfield, and exclusive appearances by some of the most recognised names in the industry. At the same time, we’re committed to celebrating India’s rich design and craft heritage.” Visitors can expect specially commissioned installations, exclusive product launches, and a celebration of India’s craft heritage—all curated to reflect the blend of tradition and innovation that defines modern Indian design.

Designer: Poltrona Frau

With names like Poltrona Frau, Richard Hutten, Studio Saar, Fern & Ade, Jaipur Rugs, VIATOV, VitrA, and de Sede participating, there is something for everyone—if you are interested in plush seating, thoughtful color palettes, or eco-conscious craftsmanship.

Designer: de Sede

Special Features and Installations

Design Mumbai promises an engaging array of special features, from award ceremonies to networking events, all aimed at celebrating the best in contemporary design. Exclusive collaborations, such as the concept hospitality space by THE Park Hotels, in partnership with Studio Saar, will provide attendees with a refreshing look at innovative hospitality design.

Designer: Royal Enfield

Royal Enfield will also feature prominently, showcasing its latest Royal Enfield Classic 350, highlighting its design expertise and the craftsmanship that goes into making these iconic motorcycles.

Live Talks and Keynotes

Design Mumbai is also packed with live industry talks and keynotes under the “Design Mumbai: Exchange” series. Confirmed speakers include key players from Dezeen, Dutch industrial designer Richard Hutten, and those involved in the $30 billion Mumbai infrastructure overhaul.

Richard Hutten

The discussions will cover the intersection of sustainability, design, and technology, providing insights into the future of the creative industry.

Ian Rudge added, “Our goal with Design Mumbai is to deliver top-tier quality and originality to the architecture and design community. We aim to provide a unique experience and diverse content if attendees are specifying for a private residential project or a commercial venture such as a hotel or restaurant.”

Culinary Experiences

Alongside the visual delights, visitors can indulge in culinary experiences from award-winning restaurants, including a pop-up from Soho House Mumbai.

Designer: Fern & Ade

Imagine exploring exhibits ranging from upcycled cotton tapestries by Morii Design to the latest Danish collections by Fern & Ade—all while enjoying a high-end dining experience.

Innovative and Sustainable Design

Innovation is a core theme of the event, which showcases creativity and sustainability, from VitrA’s recycled ceramic washbasins to VIATOV’s plexiglass mirrored art pieces.

Designer: Vitra

Visitors will also find inventive pieces from AKFD Studio, known for its unique lighting designs incorporating traditional Indian craftsmanship, and Studio Avni’s work, which experiments with materials like silicone and discarded silk saris.

Designer: Viatov Design

Craft Heritage and Modern Classics

Expect to see bold, modern pieces from the FAZO Project, which utilizes traditional carpet weaving techniques. Loco Design will present collections that blend Indian heritage with modern technology, while Shailesh Rajput Studio will exhibit art-inspired lighting pieces using aluminum, brass, and clay.

Designer: Loco Design

Loco Design’s efforts to blend heritage craftsmanship with modern aesthetics aim to redefine contemporary Indian design on a global scale. Under brands like Madheke, Pintark, and Taamaa, their new collections represent a convergence of Indian heritage and international practices, creating an engaging narrative for the audience.

Luxury Meets Modern Architecture

The hospitality space designed by THE Park Hotels in collaboration with Studio Saar offers a glimpse of luxury paired seamlessly with modern architecture.

Designer: Studio Saar

With exhibitors like Technogym, Timothy Oulton, Hästens, Michael Young, and Boss Design, Design Mumbai promises something to inspire all design enthusiasts.

Artful Forms and Everyday Simplicity

Other notable names include Seoul-based VIATOV, which presents mirrored objects, and Esvee Atelier, known for its functional art that enhances living spaces.

Studio Avni will also display its Hybrid series of stitched metal light pieces alongside projects like the Garland series, which are made from discarded silk saris.

Designer: Esvee Atelier

Esvee Atelier is set to introduce the VAV coffee table, inspired by Indian stepwells, and the Maya vanity dresser, which turns everyday routines into elegant rituals and embodies the spirit of thoughtful, functional design.

Design Mumbai is set to establish itself as a yearly pilgrimage for lovers of design—capturing the creative energy of India and ingenuity from around the world. Design Mumbai is also collaborating with the Association of Designers of India’s Mumbai Chapter, who is helping them curate speakers and building engagement with the design community. The creative pulse of Mumbai is about to get even stronger!

Event Dates: 6-9 November 2024.

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Material Matters 2024: Shaping the Future of Design & Sustainability Through Materials Innovation

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As part of the iconic London Design Festival, Material Matters 2024 promises to be a cornerstone for material enthusiasts, designers, and innovators. Set in the historic Bargehouse, Oxo Tower Wharf, from September 18-21, the fair will spotlight groundbreaking work across material disciplines, showcasing how innovative thinking can shape the future of sustainable design. This year’s lineup includes some of the most compelling projects and collaborations that fuse creativity with sustainability. Let’s take a closer look at five standout exhibitions that demonstrate the show’s thematic diversity and material brilliance.

1. Locally Grown: Harnessing Human Hair as a Material

In an unexpected and captivating twist, Studio Sanne Visser is showcasing Locally Grown, an installation that explores human hair as a regenerative material. Visser, known for pushing the boundaries of material design, has transformed what many consider waste into a valuable resource. Visitors can not only experience the journey from haircuts to yarn but can even contribute to the process by offering their own hair for transformation.

Hair spun into yarn, is showcased in products like ropes and even wearable garmets like hats, developed in collaboration with various designers. This project underscores the versatility of unconventional materials and opens up conversations around waste and resourcefulness. The exhibit is backed by the Dutch Embassy and reflects a strong commitment to material reuse​.

2. Suru: Blending Craftsmanship with Circular Innovation

Barcelona-based Suru is a standout in Room 12, bringing a fusion of local craftsmanship and a commitment to sustainable living. The brand’s philosophy is rooted in circular innovation, with a focus on integrating recycled and biodegradable materials into its modular furniture and lighting designs. At Material Matters 2024, Suru is launching new products, including the Carta Lamp 001, a portable light made from a single sheet of paper that can be disassembled easily for repair, embodying their lifecycle approach. They’re also showcasing established pieces like the Niu Armchair 001, crafted from ethically sourced, VOC-free beech wood and featuring a cushion made from recycled coconut shells and PET fabric. Each piece exemplifies Suru’s dedication to sustainability without compromising on style or functionality​​.

3. BIOTEXFUTURE: Revolutionizing Textiles Through Biotechnology

The future of textiles is bio-based, and nowhere is this more evident than in Fibre Futures, an exhibition led by BIOTEXFUTURE in collaboration with Adidas and RWTH Aachen University. This installation delves into innovations in bio-manufacturing and alternative resource streams, with a focus on high-performance textiles that could revolutionize the fashion and sportswear industries. The combination of scientific research and cutting-edge design makes this one of the more technical but no less intriguing exhibits​.

This exhibit offers visitors a look into how biotechnology is shaping the next generation of materials, proving that high-performance doesn’t have to come at the expense of sustainability. Expect alternative fibers and spinning techniques that push the boundaries of what textiles can do.

4. Rootfull: Nature’s Hidden Potential

Rootfull, an innovative project turning to nature’s unseen power, focuses on creating sustainable designs using tree roots. This unique approach explores the raw beauty and versatility of roots in product design. At Material Matters 2024, Rootfull showcases a range of lamps crafted from roots, highlighting their natural durability and the aesthetic appeal of light leaking through the fibrous network of roots. By using a material that’s typically overlooked or discarded, Rootfull not only opens up new possibilities for biomaterials but also taps into the innate connection between nature and design, offering a fresh perspective on how we can reimagine organic waste as functional, beautiful art.

5. Mushlume Lighting: Lighting the Way with Mycelium

Continuing the biomaterials theme, Mushlume Lighting by Danielle Trofe uses mycelium—the root structure of mushrooms—to create an eco-friendly line of lighting. Each piece is biofabricated, grown rather than made, illustrating the potential of mycelium as a scalable, renewable material. Trofe’s work is an outstanding example of how fungi can move beyond the realm of the kitchen and into the living room, lighting up spaces with minimal environmental impact​.

6. Peel Fabric Lamp: Illuminating Waste with Alkesh Parmar

Designer and researcher Alkesh Parmar has long been known for his innovative use of materials often regarded as waste, particularly citrus peel. At Material Matters 2024, Parmar showcases his Peel Fabric Lamp, an extraordinary piece crafted from orange peel, a material that behaves much like leather when treated. Parmar’s practice of blending craft and critical design questions the impact of globalization and champions local, sustainable materials. His unique approach not only transforms everyday waste into functional art but also pushes the boundaries of material innovation. The Peel Fabric Lamp exemplifies his belief in the potential of overlooked resources, offering a striking visual reminder of how waste can be reimagined into objects of beauty and practicality.

Material Matters 2024 offers a breathtaking view of the future, where materials are no longer just functional but integral to the conversation on sustainability and innovation. Whether it’s furniture crafted from orange peel, lighting grown from mushrooms, or yarn spun from human hair, the exhibits at this year’s fair challenge us to rethink our relationships with the materials that surround us. With each installation, visitors are reminded that the future of design doesn’t just lie in creating new products, but in reimagining the materials that shape them.

Expect the unexpected at Material Matters 2024—and don’t be surprised if you leave with a new appreciation for the chair you sit on or the light that illuminates your room.

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Juicy Booth lets you have a cathartic, multi-sensory confessional session

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One of the hardest emotions for people to deal with is shame. We are afraid to admit it, confront it, and figure out a way to live with it. The healthiest way would be to talk to someone especially professionals. But if you’re not yet ready to take that step and you’re in London until December, there’s a pretty interesting art installation that may help you have a cathartic experience with your secret shame.

Designer: Annie Frost Nicholson

The Juicy Booth is an installation at the Coal Drops Yard as part of London Design Week which lets people have a 10-minute multi-media confessional session. Created in collaboration with K67 Berlin (a company that restores historical K67 booths) and The Loss Project (a social enterprise that creates spaces for communities to deal with grief and loss), artist Annie Frost Nicholson wanted to have a space for people to release their shame and have a quick healing session through colour, light, and music.

When you enter the booth, a refurbished K67 booth, you’ll see a retro 80’s keyboard where you can type out the thing that you’re currently ashamed of. Your confession will be spelled out on an LED monitor for your eyes only of course (unless you brought someone in with you there). Based on what particular emotion you’re dealing with, the system maps it out with their “carefully conceived colour spectrum”. You then get a light and sound show that will hopefully take you on a cathartic journey.

The whole experience will take you just 10 minutes but hopefully that is enough to start you on a journey to healing. You will also get to scan and access additional resources that can support you after your Juicy Booth session. The installation will be there until December 9 so if you have the chance to visit it and have a mini-confessional session, go ahead and do it.

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BLOND LABORATORY at London Design Festival 2024 revives old designs in unexpected ways

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There are plenty of wise sayings about how the past guides our future, and nowhere is that perhaps more evident than in the design and fashion industries. “Retro” might seem like a passing fad, but this isn’t the first time that the design pendulum has swung back to the past for inspiration. This homage to the designs of our predecessors may be the guiding spirit behind famed London-based design studio BLOND’s ARTEFACT initiative, taking objects that are no longer in production or even in use and reimagining them in a completely different light. At the London Design Festival this week, the BLOND LABORATORY challenged a stellar roster of international designers and studios with this quest, and here are the responses that give these “offline” products a new kind of life in this modern world.

Designer: BLOND

From Us With Love: Mallet Flashlight

Opening wine bottles today is as easy as turning a cap, but true connoisseurs still prefer the classic cork that is just as difficult to remove as in the old days. Of course, we have it easy today as well with more modern tools, but the traditional corkscrew and its menacing metal spiral has always been the weapon of choice for that task. Even older designs used a single bent rod of metal, which is probably not as comfortable to use as those with wooden or even plastic handles.

Designer: From Us with Love

Turning something crude into an art object is the feat that From Us With Love accomplished. Taking a single rod of metal, flattening its top, and cutting out a hole in the middle resulted in a simple yet functional bottle opener. It embraces the functional minimalism of the old-school corkscrew and imbibed with the elegance of modern tools, a true retro design if there ever was one.

Hirotaka Tako: Marking Gauge Ikebana Lamp

We enjoy a lot of convenient tools today that make it trivial to do things like measuring pieces of wood. In the old days before measuring tapes and meters, however, people had to make use of rather complicated tools that involved a wooden rod sliding inside a a block. This measuring gauge, though crude, created a rather interesting form that was not that different from a piece of art, which is exactly what inspired this rather geometric lamp design.

Designer: Hirotaka Tako

Taking inspiration from both this outdated tool as well as a Japanese art of floral arrangement, Hirotaka Tako designed a table lamp that similarly used the concept of inserting a long thin stick into something bigger. He likened the wooden rods to a flower stem inside a vase, exactly like an Ikebana arrangement. The result is a table lamp that is both functional and artistic, inspired by a tool that was anything but.

James Melia: Timber Basket Pendant Lamp

We take for granted the materials used to create modern products these days, not to mention the methods for making them. Today, we have machines that can print almost any shape imaginable, but past generations had to do things by hand, using stubborn and difficult materials. The rope patterns used to keep a timber basket together, for example, offered not only structural stability but also an interesting visual, one that can add a bit of a flair to an otherwise normal object.

Designer: James Melia

James Melia takes a hanging lamp’s power cord and stitches it along the length of its shade, creating a row of diagonal stripes that turns a plain lamp into an art object. That same cord is used to actually hang the lamp from a ceiling, reducing the number of parts involved in designing the lamp and creating a simpler and more sustainable design.

John Tree and Neal Feay: Tea Ladle Turntable

The Japanese are famed for their minimalist tools which are an art form in their own right. A simple scoop for tea powder, for example, takes the form of a bamboo ladle with a distinct charm. Though today’s tea lovers will probably use different tools, this traditional object still remains a staple in Japanese culture today as well as practices that recreate it. To some extent, it’s almost like the venerable turntable that has seen a renaissance and is getting some use even today.

Designer: John Tree x Neal Feay

This optical turntable takes that delicate-looking bamboo tea ladle and transforms it into a turntable arm that preserves that spirit of gentleness. Rather than using a sharp pin to read the grooves of the platter, it uses light to avoid any physical contact and help preserve the vinyl material. It’s a gentle and delicate spin on a classic retro design, no pun intended.

Jon Marshall: Whisk Candelabra

Today’s whisks are light, compact, and handy tools that use a few loops of bendable wire or plastic, a design that’s so far removed from the coiling iron wires of much older versions of the kitchen tool. Looking more like springs or even weapons, this antique whisk form isn’t very efficient at what it’s meant to do, but it admittedly looks novel and interesting to our modern eyes.

Designer: Jon Marshall

It might not make scrambled eggs, but this candelabra will definitely bring a bit of delight to your dinner table. The spiraling form of the base and the tight coils of the candle holder make for an interesting visual, but it’s when the candles are lit and the shadows dance that this rather luxurious-looking light fixture truly comes alive.

Julie Richoz: Balance Bird Balancing Lighter

Kids tend to find science and math lessons boring until they encounter puzzles and feats that really blow their minds. Something as simple as a perfectly balanced eagle held up only by its beak is sure to pique curiosity, even those of adults. This ingeniously disguised pendulum is not an uncommon toy or desk ornament, but the same principles can be used to the same effect for other objects, including more utilitarian ones.

Designer: Julie Richoz

A lighter standing only one of its corners is definitely going to make you the talk of the party, and it provides not only an entertaining piece of decoration but also practical use. It will be easy to see if the lighter is missing from its base, and people who use it will be more likely to put it back on its perch just to marvel at its balancing act. It’s a very simple twist to a simple object but one that has a nontrivial effect on those who see it, all thanks to some inspiration from old objects we have taken for granted.

Maddalena Casadei: Mallet Flashlight

Most of us who have done any sort of handiwork may have used a hammer at one point in time or another. There are different kinds of hammers, of course, and one such type is the mallet. Often made with a heavy head to pound things flat, some old-school mallets would reverse the typical hammer design and use a steel rod handle with a wooden block for the head.

Designer: Maddalena Casadei

Maddalena Casadei took that raw-looking industrial metal handle to turn it into a cylindrical flashlight with similarly brutalist aesthetics. Instead of the wooden head, it has a small removable cone that serves as a diffuser for the light. On the opposite end is a flattened section with a hook that serves the same purpose as the hammer from decades ago: hanging the tool from walls or rods. It’s a rather interesting depiction of a flashlight that sheds off all the sleek and luxurious designs of its modern equivalents, embracing the utilitarian character of its inspiration.

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