Redefining Value at the London Design Festival
The Bank of England Museum, within its temporary wing, presents a project titled "Rebuilding Value," posing a fundamental question: What makes something worth the value we assign to it?
Turning Money from a Financial Medium into Raw Material
The concept stems from a routine process carried out by the bank: withdrawing old banknotes from circulation. #LondonDesignFestival #RebuildingValue #Sustainabledesign
✨ سپتامبر ۲۰۲۵، ماه پرهیجان طراحی جهانی!
از Maison & Objet پاریس تا Venice Biennale و London Design Festival، ترندهای پایدار، طراحی انسانی و متریالهای نو در حال شکلگیریاند. 🌿💡
📌 برای مرور کامل رویدادها و ترندها، بلاگ جدید ما در دکوراتور را بخوانید! لینک در بیو 👆
#Design2025 #InteriorDesign #ArchitectureLovers #MaisonEtObjet #LondonDesignFestival #VeniceBiennale #SustainableDesign #GlobalDesign #DesignTrends #سپتامبرطراحی
https://dekorator.ir/design-events-september-2025/?utm_source=mastodon&utm_medium=jetpack_social
Hello, any plans on Thursday? I'm giving a color font talk at London Design Festival. Come along and please share with fellow creatives if you can 🙏 See you there: https://tinyurl.com/jpwrry5r
#colrv1 #fonttalk #typetalk #londondesignfestival #variablecolorfont #googlefonts #typeface
This is a project which made the creation of variable gradient fonts accessible to everyday designers. Learn a basic intro of Colour Font formats, and hear Sophia share her experiences working on Foldit, one of the first fonts in the newest Colrv1 format. It's a colour font, it's a variable font, and it has gradients.
Auroboros' "living" Biomimicry dress crystalises and changes shape in real time
London-based fashion brand Auroboros has used digital technology to create a dress that changes colour and shape in real-time, mimicking the growth of a flower.
The gown, called Biomimicry, was worn by the artificial intelligence (AI) robot Ai-Da at London Design Festival earlier this year at an exhibition inside the Victoria and Albert Musuem, London.
Top: AI robot Ai-Da wearing the Biomimicry dress at London Design Festival. Above: the dress mimics the life cycle of a flower
Auroboros designers Paula Sello and Alissa Aulbekova were inspired by the concept of biomimicry, which is defined as "a practice that learns from and mimics the strategies found in nature".
'The design of the gown seeks to envisage how a plant would appear if it were to grow on a body, depicting how it would mould to the shape and silhouette of a figure," the designers told Dezeen.
Auroboros' dress changes shape and colour over time
To create the sleeveless dress, the designers used digital programming. This enabled them to cut the pattern, decide on the size and ensure the correct fit. Once these details were established, they began sculpting the gown's understructure using recycled Perspex sourced in east London.
The crystals that adorn the middle layer of the dress were hand-grown from salt crystals that had been incubated and heated over several weeks. They were then tinted with dark green dyes and embedded on the interior of the gown, giving the dress its watery green colour.
Recycled glass beads from a past project with jewellery brand Swarovski embellish the gown's train, which trails along the floor.
Green salt crystals adorn the middle layer of the dress
By repurposing material waste, the designers hope to further the brand's commitment to sustainability, innovation and inclusivity.
"We hope the couture's finite life cycle evokes ideas of ecological consciousness for viewers [at the V&A Museum], as we believe that mortality lies at the core of sustainability," they said.
The final layer, which autonomously transforms in real-time, was developed in partnership with the Queen Mary University of London.
Together, the teams devised a solution using salt crystals that can be added to the mixed media on the gown's surface which oxidises over time. As the solution is exposed to the air, it turns into uniquely coloured and shaped crystals, giving the dress its "lifelike" quality.
A solution on the mixed media layer crystalises when exposed to oxygen
The reactive solution responds to changes in the surrounding environment. This means that "each time, the outcome of the crystallisation process is completely different".
"The couture's appearance will differ, depending on the time you view it," Aulbekova and Sello explained. "Those viewing it at a later stage will see larger crystals than those viewing it at the beginning of the showcase, as the crystals have had more time to develop and grow."
Eventually, the crystals come to the end of their lifespan and fall off the dress, just like the petals fall off a flower or leaves fall from a tree.
"This 'mimicking' of nature's life-cycle occurs as the gown exists in an entirely ephemeral state; in which the process of growth is fleeting, reminding us to cherish the beauty of the burgeoning life before its eventual end," Aulbekova and Sello explained.
The crystals fall off of the dress at the end of their life cycle
Alongside biomimicry, Auroboros drew on figures and motifs found in Greek mythology to create the dress. The designers cite the god of sun Apollo and the nymph goddess Daphne as examples.
Their close association with nature can be seen in the dress' neckline and open back, which is reminiscent of seaweed tendrils.
While the physical dress worn by Ai-Da will self-destruct, digital versions of the same design could be seen virtually using augmented reality both online and at the museum.
Other designers that have used robotic technology in fashion include Ying Gao. The Montreal-based fashion designer released a collection of dresses with fibrous panels that twist and curl when they identify strangers nearby as well as a pair of robotic dresses that expand and contract in response to their environment.
The photography is byMika Kailes.
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#products #fashion #materials #all #design #technology #londondesignfestival #clothing #technologyanddesign
FreelingWaters emblazons 18th-century cabinets with graphic patterns and calligraphy
Seven antique pine cabinets have been stripped and painted both inside and out to form a colourful furniture collection, created by Dutch duo FreelingWaters and unveiled as part of London Design Festival.
The exhibition marks the first collaboration between calligrapher Job Wouters and muralist Gijs Frieling under the name FreelingWaters. It is the first project to be commissioned by Wrong Shop Projects, a new platform founded by Sebastian Wrong that brings together artists, designers and artisans to create bespoke pieces.
FreelingWaters has stripped and painted seven antique cabinets
On show as part of the Design House group exhibition at the 14 Cavendish exhibition space in London, the collection examines the benefits of upcycling and presents 18th and 19th-century pine cabinets transformed by a colourful fusion of graphic design, folk art and calligraphy.
Once seen as redundant and outdated, the pine pieces have been upcycled to be more relevant for today and to make a statement against a culture dominated by mass-produced objects.
The pieces are painted both inside and out
"Rather than bringing new objects into an overcrowded culture, FreelingWaters explores the concept of upcycling, applying a thin layer to create a complete visual shift in appearance," Wrong Shop Projects explained.
The cabinets are finished with traditional casein paint, which is made using milk protein and has been used to colour everything from pop artist Andy Warhol's iconic Campbell cans to Italian painter Giotti's bright blue fresco in the Scrovegni chapel.
The cabinets were upcycled to be relevant to today
"The project is very materialistic in terms of the colour, the intensity and the process of where they get the paint," Wrong told Dezeen.
"They source the pigments from specialist suppliers and then mix them in their studio with a milk product in a medieval technique."
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Read:
Slow furniture production "not affordable anymore" says Sebastian Wrong
Frieling and Wouters focused on cabinets in particular because of their "architectural quality and secret surfaces".
All of these surfaces, even the hidden ones, are painted in bright monochromatic colours and geometric patterns, with the duo's name and the date of the collection written on each piece as if they were signed and numbered editions.
"Calligraphy is a dying trade and so is folk art," Wrong explained. "And yet they're both modernists so they're playing with these skills to create something that is much more contemporary and relevant for today."
Casein paint was used to finish the cabinets
The collection on display at 14 Cavendish, which will also be exhibited at Design Miami's first-ever fair in Asia later this year, is one of three that FreelingWaters is creating for Wrong Shop Projects.
"Previously, I've focused much more industrialised production and I sell limited-edition prints and posters from designers," Wrong explained. "So this was a chance to start a new project with new people."
Each piece is emblazoned with the duo's name and the date of the collection
Wrong is one of the co-founders of British design brand Established & Sons and launched his own limited-edition design platform The Wrong Shop in 2011.
Wrong Shop Projects will continue this legacy by commissioning bespoke collaborations and site-specific installations between artists and designers.
The FreelingWaters collection was exhibited at14 Cavendish as part of London Design Festival 2021 from 18 to 26 September. See Dezeen Events Guide for an up-to-date list of architecture and design events taking place around the world.
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#furniture #all #design #londondesignfestival #sebastianwrong #upcycling #calligraphy
Lugano seating range by Rock Galpin for Morgan
Dezeen Showroom: British furniture brand Morgan has launched Lugano, a seating collection with cocooning backrests, as part of this year's London Design Festival.
Created by Rock Galpin, the Lugano range comprises a signature lounge chair as well as a smaller lounge chair and a dining chair, which the designer says help to "nurture their sitter with warmth and support."
The Lugano collection includes a large signature lounge chair and a smaller lounge chair with plush cushioning
The seating is composed of an upholstered backrest that embraces the user and a plush cushion seat supported by a simple timber frame.
The range was designed with what Galpin describes as a "make once, make well" approach to adhere to Morgan's ongoing commitment to sustainable design.
The Lugano dining chair features a curved backrest supported by an elegant timber frame
Each chair consists of three components – the back and armrests, the seat pad and the frame – all of which can be replaced or updated over the chair's lifetime to reduce its environmental footprint.
Lugano can be upholstered in a wide array of fabrics and leathers while the solid timber frame is available in certified beech, walnut, ash or oak as well as 11 different polish colours.
Product: Lugano seating
Designer: Rock Galpin
Brand: Morgan
Contact: [email protected]
About Dezeen Showroom: Dezeen Showroom offers an affordable space for brands to launch new products and showcase their designers and projects to Dezeen's huge global audience. For more details [email protected].
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#morgan #diningchairs #furniture #loungechairs #chairs #all #donotshowonthehomepage #design #dezeenshowroom #showroomhighlights #seating #londondesignfestival
Sou Fujimoto creates undulating virtual installation in London
Visitors to this year's London Design Festival can use mixed-reality glasses to manipulate their walk through Medusa, a virtual installation by architect Sou Fujimoto.
Created by the Japanese architect Fujimoto in collaboration with mixed reality studio Tin Drum, the virtual structure has been installed at the V&A Museum.
Up to 50 guests at a time can put on a pair of mixed-reality glasses and explore the experimental architectural forms designed by Fujimoto.
As they move through Medusa, the dynamic structure "changes and evolves based on the movement of its admirers".
Medusa responds to the movements of its audience
"Visitors will be able to simultaneously observe this piece of virtual architecture, floating and moving inside of the space that is confined by the gallery itself," said Yoyo Munk, Tin Drum's chief science officer.
"The structure is observing the entire group and changing itself based on what it's observing about the audience behaviours, rather than any individual," he told Dezeen.
"It explores the contrast between the individual and the collective."
Tin Drum drew on the science of bioluminescence to inform the design
The installation takes its name from the mythological figure Medusa as well as the zoological term for a jellyfish, in a conflation of myth and science that sits at the core of the design.
"We liked the idea of a figure of life that finds this balance between something that is beautiful, attractive and dangerous," explained Munk.
The studio also used the primal attraction to light and underwater bioluminescence to inform the evolving dynamic structure.
"We drew a lot of inspiration from natural light structures like the aurora borealis (also know as the Northern Lights) and our connection to light sources," recalled Monk.
"When we look at an aurora borealis, we share some commonality with the neural circuitry that leads prey and so forth to be consumed."
Medusa was designed to provoke individuals to play, interact and follow the lights as they walk through the virtual installation.
According to Monk, both Tin Drum and Fujimoto were most interested in the potential of using light as an architectural medium.
"What's exciting for all of us is this idea that you could construct structures that had no physical form and existed only as light being projected into the eyes," said Monk.
"We get the sense of a space that has a design structure that exists in a spatially explorable sense – that has the ability to change our perceived environment and the way that we feel and explore while having no physical form."
Fujimoto established Sou Fujimoto Architects in 2000. Although he is best known for his buildings, he has worked on a number of installations. In 2017, he created a series of abstract bookshelves made from thin steel rods for Design Miami/Basel.
For the fashion brand COS, Fujimoto used spotlights, mirrors and sound to create an immersive installation that responds to visitors' movements.
London Design Festival 2021 takes place from 18 to 26 September. See Dezeen Events Guide for an up-to-date list of architecture and design events taking place around the world.
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#all #installations #design #london #londondesignfestival #soufujimoto #technology
Nebbia Works constructs mono-material pavilion for V&A from low-carbon aluminium
Nebbia Works has created a self-supporting pavilion from simple aluminium sheets at the V&A museum as part of the London Design Festival to highlight the material's sustainable potential.
Set within the museum's John Madejski Garden, the installation consists of 27 metal sheets of identical dimensions, each propped up by a single leg carved and bent from its surface.
Nebbia Works' pavilion is installed in the V&A's John Madejski Garden
The structure is fused together to create the impression of being one continuous piece and made entirely from one batch of the metal, which manufacturer En+ claims is the "lowest carbon aluminium the world has ever produced".
Only 0.01 tonnes of carbon dioxide equivalent (CO2e) was emitted for each tonne of material created, the company says, falling far below the four-tonne threshold that is generally applied to low-carbon aluminium.
"We're going right down so there are virtually no emissions," En+ communications director Dawn James told Dezeen.
The installation is made entirely of aluminium
Once the festival has come to a close, the pavilion will be melted down into ingot and turned into products, showcasing aluminium's ability to be infinitely recycled.
To enable this, the structure does not rely on the addition of any other materials to hold itself aloft.
27 aluminium sheets are jointed to create the impression of one continuous structure
Instead, its algorithmically designed legs combined with the innate strength and lightness of aluminium make the pavilion entirely self-supporting and thus easy to dismantle and repurpose.
"We were trying to use a minimal amount of material and a minimal amount of fabrication to achieve the final piece, which basically turns 2D sheets into a 3D articulated space," said Nebbia Works co-founder Brando Posocco.
"What you see is exactly what you get," added V&A curator Meneesha Kellay. "There are no layers of material or a facade with lots of things hidden behind it."
The pavilion's legs are cut from its aluminium roof panels
The pavilion's legs were cut from its aluminium roof panels using a water jet cutter. They were then folded out by attaching them to a gantry crane and rolling them around a huge tube.
No lacquer or finish was applied to the material in order to maintain its recyclability. Rather, the surface was hand-buffed and its edges manually polished, helping to give the aluminium an organic quality.
"Most of the time you associate aluminium with being cold and mechanical, so one of the tasks we set ourselves was trying to make this material a bit more approachable," Posocco explained.
"The overall finish is not perfect or pristine, there is a kind of human touch to it."
The entire structure is made from aluminium down to its fixings
The aluminium used to create the pavilion is the first batch En+ has ever made using its revised production process.
So far, efforts to create low-carbon aluminium have largely focused on the huge amount of energy that is needed to run the industrial smelters, where aluminium oxide is separated into aluminium and oxygen through a process called electrolysis.
This accounts for around 65 per cent of emissions from aluminium production and can easily be circumvented by running the smelters using hydro or geopower.
But this still leaves so-called process emissions from smelting, which are generated as the carbon anodes used to induce this chemical reaction erode over time, releasing CO2.
A walkway allows visitors to enter the installation and walk on the pond
En+ has eliminated these emissions by swapping out the carbon anodes for inert anodes made from a ceramic alloy.
"These inert anodes do not erode during the process, so you get pure oxygen out of the top and pure aluminium out of the bottom of the smelter," James explained.
"For us, the smelting process accounts for 25 per cent of emissions, which we will be saving with inert anodes. So there are virtually no emissions."
The pavilion is reflected in the water of the pond
From here, the aim is to create a completely zero-carbon aluminium by 2050, in time for the company to become net-zero as a whole.
To achieve this, En+ is looking at rolling out the inert anode technology across all of its smelters in Siberia, as well as looking at its entire value chain, from the way that its refineries are powered to the mining of bauxite, which accounts for another two per cent of the company's production emissions.
No lacquers or coatings are applied to the aluminium
According to a report by the World Economic Forum, the use of inert anodes combined with hydropower could help to significantly reduce the carbon footprint of the aluminium industry, which currently accounts for two per cent of all global emissions.
"Advances in anode technology could be quickly commercialized and offer wide-scale decarbonization for the industry," the report concluded.
Its surfaces are hand-buffed and polished to create an organic texture
Another company making use of inert anodes is Elysis, a joint venture between major aluminium producers Rio Tinto and Alcoa, which has already supplied its first batch to Apple and hopes to commercialise its technology in 2024.
"Making industry-wide changes is really fundamental in terms of carbon reduction," said Madhav Kidao, the other half of Nebbia Works. "And it's really important as designers that we challenge how we specify things and where they come from."
The installation is on show as part of the London Design Festival
Elsewhere, the steel industry is also trying to clean up its act with Swedish producer SSAB producing the first fossil-free batch of the alloy last month.
Swedish designer Lena Bergström has already created a candle holder from the material while carmaker Volvo claimed the first commercial batch.
Photography is byEd Reeve.
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#pavilions #all #architecture #installations #design #londondesignfestival #aluminium #va
Nebbia Works has used nothing but simple aluminium sheets to form this self-supporting pavilion, designed to highlight the material's sustainable potential and currently on display at the V&A as part of London Design Festival.
Yinka Ilori creates 18 colourful crossings over London's streets
London-based designer Yinka Ilori is transforming 18 pedestrian crossings for this year's London Design Festival, using vibrant bands of colour.
Ilori has replaced the usual black and white stripes on 11 colourful crossings on Tottenham Court Road in central London with bold shades of blue, orange, pink, purple and green.
The designer has also teamed up with students from University of the Arts London to design a further seven crossings for the City of London, with one set to be painted by volunteers during the festival.
Ilori has created 11 colourful crossings over Tottenham Court Road
The project, called Bring London Together, is intended to bring joy to the thousands of people walking through London's streets every day.
It follows a series of other temporary road artworks that have created in the city, by designers including Camille Walala and Eley Kishimoto.
"For me, colour and pattern have always been a way of celebrating places, communities and experiences," the designer told Dezeen.
"Instead of being mundane, these crossings can become a focal point where people can experience art. Hopefully, it will make them smile and bring a sense of joy and positivity to their day."
The design consists of lines dissected by circles, as a symbol of connectedness
Bring London Together is one of the landmark projects for London Design Festival 2021. It also forms part of Let's Do London, a tourism campaign spearheaded by London mayor Sadiq Khan, with the aim of supporting the city's creative, retail and hospitality sectors following the pandemic.
The same design features on all the crossings along Tottenham Court Road.
The pattern consists of lines dissected by circles, intended to represent the strength of connectedness we feel from the people around us. Ilori said he was thinking about relationships he formed with friends and neighbours over the past 18 months.
These kinds of motifs are a common theme in Ilori's work, with past examples including his Colour Palace at the London Festival of Architecture in 2019, and his pandemic artwork, Better Days Are Coming I Promise.
Ilori has created the designs for London Design Festival 2021
As the city tries to move forward from the challenges of Covid-19, Ilori hopes the design will help Londoners feel happy to be out and about again.
"It's about trying to bring our community back out onto the streets to celebrate," he said.
"We are still in a pandemic, but we're trying to get out of it slowly. I'm trying to make Londoners feel they can actually live their lives again."
The project is also part of a tourism campaign led by London mayor Sadiq Khan
For the seven crossings in the City of London, the city's central business district, Ilori worked with student designers Annabel Maguire, Sophie Cornish-Keefe and Eliot Everton on a series of different designs.
One of these seven will be located on the Queen Street pedestrian area outside the headquarters of Bloomberg, the company that funded the project. This crossing will be painted by volunteers over two days during London Design Festival, on 20 and 21 September.
London Design Festival 2021 takes place from 18 to 26 September. See Dezeen Events Guide for an up-to-date list of architecture and design events taking place around the world.
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#graphics #all #design #uk #london #londondesignfestival #england #installations #yinkailori
Ilse Crawford, Eyal Weizman, Mac Collins and Michael Wolff receive 2021 London Design Medals
British designer Ilse Crawford has been awarded this year's London Design Medal, with Mac Collins earning the emerging designer title.
Crawford and Collins are joined by Design Innovation winner, Israeli architect Eyal Weizman, and Lifetime Achievement recipient, British graphic designer Michael Wolff, as the four 2021 medal laureates.
The creatives will receive their medals on Monday 20 September at an awards ceremony organised by the London Design Festival at The Royal Exchange.
The 2021 London Design Medal has been awarded to Ilse Crawford
The London Design Medal's top honour is reserved for an individual "who has distinguished themselves within the industry and demonstrated consistent design excellence".
This year it went to Crawford, the founder of design practice Studioilse who also works as a teacher and creative director.
"I couldn't be more proud to win this award," she said. "London is in my DNA. I was born in Powis Square, went to school at Avondale, W11, and went to uni here too. In 2003, the same date that the London Design Festival began, I started Studioilse here in London."
Crawford's recent Braun talk explored how items such as Enzo Mari's Sedia 1 wooden chair reframe the future
Crawford recently stepped down as the head of the Man and Well-being course at Design Academy Eindhoven after working there for more than 20 years. Earlier this year, she was made a Commander of the British Empire (CBE).
Last year, Crawford spoke to Dezeen during our Virtual Design Festival about her work and what the future of the design industry might look like.
Crawford is the 15th winner of the Medal, which has been awarded annually since 2007. Past winners include Es Devlin, David Adjaye, Thomas Heatherwick and, most recently, Paola Antonelli.
The Emerging Design Medal was awarded to Mac Collins
Collins has won the Emerging Design Medal, which recognises an impact made on the design scene within five or so years of graduation.
Collins, who graduated from Northumbria University in 2018, is best known for his afrofuturist chair – one of several items of his furniture that draw on his Caribbean heritage.
"It is humbling to have been awarded the Emerging Talent Medal for London Design Festival 2021," said the designer. "I was surprised to receive the news and am pleased to have had my practice recognised in this way."
"My thanks go to all those involved in the decision-making process, and to those who have supported and mentored me over the past couple of years," he added. "I intend to push my practice further forward, and this award is a hugely motivating and inspiring force."
Michael Wolff has been awarded the Lifetime Achievement Medal
The Lifetime Achievement Medal was awarded to Wolff, who has spent the past six decades pushing the boundaries of graphic design as co-founder of design studio Wolff Olins.
More recently, Wolff became a patron of the Inclusive Design Challenge at the Royal College of Art, where he is also a senior fellow.
"I feel deeply honoured to have received this lifetime achievement award," he said. "Few of us got to where we are alone and so I owe this award to all of those who’ve supported me."
"I've always believed – and I continue to believe – that my best work is what I'm going to do next," Wolff continued.
Eyal Weizman has been given the Design Innovation Medal
Weizman, founding director of research group Forensic Architecture, is the recipient of this year's Design Innovation Medal for his commitment to "reinventing design and architecture as tools of restorative social justice".
"I receive this medal on behalf of Forensic Architecture and the frontline communities we work with as a recognition of our common work against racist policing in the UK and elsewhere," he said.
"As we do so we remember Mark Duggan — shot unarmed by metropolitan police officers — almost exactly 10 years ago."
The London Design Festival is taking place 18-26 September 2021 across the city. See more events taking place this month on the Dezeen Events Guide.
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#all #design #news #londondesignfestival #ilsecrawford #londondesignmedal
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