Promotion: XL Extralight showcased its manufacturing process in an exhibition designed by Italian architect Andrea Caputo as an "immersive museum itinerary" during Milan design week.

Named Industream and put together by Caputo in collaboration with artist duo Invernomuto, the exhibition demonstrated the complex industrial process behind XL Extralight's footwear and foam design technology.

Although the company's core business is soles for footwear, it said its technology is leading it to other categories where lightness, durability and water-resistant properties are valued.

The Industream exhibition was held at the recently opened architecture and design centre Dropcity, founded by Caputo and occupying a previously abandoned network of warehouse tunnels behind Milan Central Station.

"At Fuorisalone 2024 we had the idea to create something completely different from previous editions," said XL Extralight foam design product and brand manager Carlo Vecchiola.

"This is why we have started a conversation with Andrea Caputo and his team to end up at Dropcity, the place to be for those who want to experiment and implement new design codes and visual experiences," he told Dezeen.

"For the first time since we have been exhibiting at the Milan design week way back in 2014, XL Extralight is unveiling its industrial process – from compounding to injection moulding – in an immersive museum itinerary."

XL Extralight, which was founded in the 1990s by Italian industrial group Finproject, designs polyolefin-based expanded and moulded foams that are super lightweight, soft and flexible while also being resistant to bacteria, UV rays, saline and chlorine.

Caputo and Invernomuto's Industream exhibition sought to emphasise the scientific aspects of the sole-making process, as well as the historic link between material innovation and human development.

At the exhibition, XL Extralight team members wore workwear-streetwear hybrid uniforms that were tailor-made by fashion house Lardini.

Recent brand collaborations by the brand include the modular Roku footwear from Camper, which features a removable sole that can be repaired and reused at the end of the shoe's life.

For more information about XL Extralight, contact Maria Elena Barbati and Bianca Maria Bertolissi at hello@barbatibertolissi.contact.

The photography is by Invernomuto for XL Extralight.

Milan design week took place from 15 to 21 April 2024. See Dezeen Events Guide for an up-to-date list of architecture and design events taking place around the world.

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Promotion: design studio Areen has launched a brand called Sonet, which will provide interiors and product design among other design-led services.

Sonet said it would be a lifestyle brand with an emphasis on "emotive experiences, urbanity and wellbeing".

It builds upon Areen's 35 years of experience of delivering design projects for large organisations, spanning hospitals, airports, offices and hotels.

According to the company, the idea behind Sonet is to cater to an emerging appetite for meaningful environments and products.

Although Sonet will have a global audience, it is aiming to gain a strong foothold in Areen's core market of Saudi Arabia and the wider Gulf region.

Sonet's creative director Michaela Salt, who joined in October 2022, said: "There's an evolving aesthetic and a new kind of luxury developing globally, especially in the Gulf region.

"We want to examine what luxury means. Surely emotive design should enhance our environment and play much more of a role in our everyday health and wellbeing," Salt added.

Sonet will focus on craftsmanship, community and locality, according to Salt. The company will provide services around interior design, product design, decorative arts and communication.

She said the studio wants to make a name for itself by "escaping the mundane and simply making people feel better through design".

"Wellbeing is a big driver for most of our clients across retail, hospitality and public spaces," Salt added.

"People want to feel a level of engagement and fulfillment in their lives. Our angle is we want to go beyond spas and plants. Curated experiences incorporating the arts, human expression can illuminate the senses and make us feel alive".

Taking its name from the Italian word "sonetto", meaning "little song", Salt said the idea behind Sonet is to "blend functional design expertise with culture and art and a little poetry".

"Bringing an emotive approach and nimble energy to every project, the brand's exclusive portfolio spans interior design, bespoke furniture, lighting, product collections and brand partnerships," Sonet said.

The brand is launching with bespoke furniture, lighting and interior design projects based in Europe and the Middle East.

Among the launch products is a series of seating designs, including the wooden Humble Chair and a low-slung day bed.

Sonet's sculptural Services Chair is made from black-stained wood and features arched shapes in the backrest and cutouts at the base.

The brand said it wants to foster a collaborative approach to luxury lifestyle design, encouraging open communication between clients, artists and craftspeople to celebrate the diversity of skills.

"At Sonet, we believe in the power of design to evoke emotions, inspire connections and enhance our everyday lives," said Salt.

The studio is expected to serve a different segment of the market in contrast to Areen's core business.

For more information about Sonet, visit its website here.

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Promotion: Design Hotels has launched its study Neuroaesthetics – Design for the Mind, which looks at how technological and cultural aesthetics impact human behaviour, with a talk at Milan design week.

The Design Hotels talk featured Robyn Landau, co-founder of Kinda Studios, alongside neuroaesthetics architect and designer Suchi Reddy, founder of Reddymade.

They were joined by Sigurd Larsen, a Berlin-based Danish architect and designer. The discussion was hosted by Dezeen's editorial director, Max Fraser.

The panel session took place to launch the report Neuroaesthetics – Design for the Mind, which centres around the neuroscientific effects of science, technology and the arts.

Speaking at the talk, Landau summed up the theme as "how our brains and bodies respond to the world around us".

The panelists discussed how design in physical spaces can affect people's feelings, arguing that these types of ideas should be taken into consideration in the development stage of projects.

"Designers and architects who understand these ideas should be at the table from the outset of planning," Reddy said. "That's the thing that needs to change."

Landau added: "Silos of design don't reflect how we connect with the world."

The report explored these themes in greater depth, exploring the issue of what it means to be human and how this informs design of spaces.

Additional perspectives in the report were provided through interviews with specialists from various fields, including neuroscientist Anjan Chatterjee and artist Refik Anadol.

The 69-page report sets out four core principles intended to aid future practical creative applications.

The report was published by Design Hotels in collaboration with German product design company FSB Franz Schneider Brakel. Research was supported by Kinda Studios, a specialist in neuroaesthetics.

It responds to a report by the World Green Building Council, which found that people in developed countries spend over 90 per cent of their lives in built-up environments.

Additionally, a UK-based survey carried out in 2023 found that 73 per cent of people feel as though the physical appearance of buildings impacts their mental health.

"It's been incredibly exciting to work with Kinda Studios and FSB on this new cultural study," said Sarah Doyle, deputy managing director and VP global brand leader at Design Hotels.

"As our recent Further Forecast 2024 report noted, design decisions that evoke transformative experiences not only elevate our immediate surroundings, but also nurture a profound sense of belonging, community, and well-being."

"Our collection of over 300 design-led hotels each contain thoughtfully curated spaces designed to incite awe and spark inspiration," Doyle continued.

"Through this deep dive into neuroaesthetics, we are developing a wider understanding of how aesthetics, culture, and technology can converge to shape our cognitive and emotional landscapes – and create more impactful, purpose-led spaces in the process."

"[The report] explores the measurable impacts that aesthetic experiences have on our brains and bodies," said Design Hotels.

"When intelligently applied to design, architecture and cultural programming, neuroaesthetics offers unlimited possibilities to transform human behaviour and foster a better sense of community, belonging, transformation, and longevity – benefitting society as a whole."

For more information about the study, please download the report here, free of charge.

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Promotion: speakers from UNStudio, AMO, and the Venice Biennale share their insights on how architecture and design can be used to make transformative museum experiences during a Design Doha panel that can be streamed on Dezeen.

Named Enchanted Vessel: Museum as a design showcase, the panel formed part of Design Doha's talks event, the Design Doha Forum, and was dedicated to exploring the relationship between design and museums.

It brought together four leading practitioners from across exhibition design, curation and museum architecture: the director of architecture firm OMA's research studio, AMO, Samir Bantal; former Venice Biennale executive director and current Pritzker Prize Awards executive director Manuela Lucà-Dazio; architect and founder of UNStudio Ben van Berkel; and Qatar Museums director of central exhibitions Sheika Reem Al-Thani, who moderated the panel.

Van Berkel is currently working on the Dadu, Children's Museum of Qatar – one of a group of museums currently under development in the country – and spoke about the role of architecture in building successful contemporary museum environments.

He said that the most important part that architecture could play was to "engage the public so intensely" that they wanted to stay in the space where they've been drawn to see an object or exhibition.

In the Dadu, this had meant reflecting on the area's past and incorporating it into the design of the museum, and also having multiple audiences in mind.

"It's not only a museum for the children, but it is also museum for the parents," Van Berkel said. "And it's connected to the history of the location and how families here played in former times, on the little squares, and where several families took care of the kids."

Bantal also spoke about architecture, as well as curation and exhibition design. The AMO director has a history of working with Qatar Museums, and together with Rem Koolhas, curated the Making Doha 1950–2030 exhibition at the National Museum of Qatar.

He said that in 2019 he had worked on three exhibitions – Making Doha plus Countryside, The Future at the Guggenheim in New York and the Virgil Abloh: Figures of Speech exhibition at the Museum of Contemporary Art Chicago. After this, he said he came to think about exhibition curation as a process of "editing" as much as design.

"The kind of unifying component of each of these exhibitions was a kind of starting point from basically deliberately not knowing before you start what you're going to talk about, research or design in that sense," said Bantal.

"And then as you go, put together an exhibition, but also edit as a form of learning for myself, but also as a form of introducing a certain, let's say, topic to an audience."

He said he liked to visualise how anyone from an expert in the field to "someone who doesn't know anything about the exhibition" would walk through it.

Lucà-Dazio, shared how that process applied to creating an exhibition within an open environment rather than the confines of one building.

She spoke about how location itself was key to the message of an exhibition. She said that in 1895, the biennale "could only be born in Venice".

"Venice used to be the gateway to to the east, the bridge between the north and the south, the east and west, the port city, the Mediterranean and all of that," said Lucà-Dazio. "And since the beginning the intention was to create, to establish an international platform for exchange – for cultural exchange, of course, but also for commercial exchange."

She said for that reason, there was a resonance now in several new biennales being launched in cities in the Arabian Gulf, including Doha, which hosted its inaugural event this year.

"If you ask me if we need another biennale in Europe, I would probably answer no," she said. "If you ask me, do we need another biennale in this part of the world, I would say yes, because it's also about shifting the focus and and creating new dialogues, which is basically why the Venice Biennale was born."

All of the panellists shared their observations about how older museums are being adapted, whether for reasons of technology, community or political circumstances, with Al-Thani said that she saw museums thinking in terms of the next 100 years and what that would look like for them.

Bantal said that archiecture is by definition about the future, because "the thing that you start working on today will not be built until a very long time in the future", but that projecting very far ahead was an impossible task.

"I think that there is almost like a range that you can design in, based on developments or how people think about the future," said Bantal. "And within that frame, I think you pick your position."

"There's always a lack of precision in what we do, which I think is also interesting because that's what makes every museum different."

He gave the example of OMA's Seattle Central Library, completed in 2004, as a cultural institution that had got the balance right, by imagining both a continuity for books and a new social function for the space.

Lucà-Dazio added that the imprecision of predicting the future was actually a positive, because it meant that institutions had to be dynamic and to keep changing and readapting.

She also spoke of the value of surprise in creating transformative museums, saying that she had become enamoured with Doha's 3-2-1 Qatar Olympic and Sports Museum, despite being "not at all into sport".

"I spent two hours in there," said Lucà-Dazio. "It was so fascinating and seductive and catchy, the whole story."

"And I learned a lot," she continued. "I learned about sport, a little bit, finally. I learned about sport in the world. I learned about Qatar, because it was also part of the of the history of the country and of Doha, so it was super fascinating."

Van Berkel encouraged architects and designers to go even deeper when reinventing museums and exhibitions for the broader public. He said that before there were museums, there were salons, and the "liveliness" of such events, along with fairs, is something that could perhaps be adapted for the modern museum.

"How could you bring in every aspect of a culture into the museum is a good question," said van Berkel. "I like it to think of how we could change these aspects in a more flexible way than maybe what is done of over the last years."

The Enchanted Vessel panel took place on 27 February at the Design Doha Forum, which was held at the M7 cultural centre in Doha, Qatar. Design Doha is a new biennial event that is set to return in 2026.

For more information, visit the Design Doha website.

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Promotion: British studio Zaha Hadid Design has created an updated version of its sinuous Cove kitchen for Italian brand Boffi's 90th anniversary that offers "the flexibility of a modular system".

Made from mouldable materials including Corian and wood, the 2024 Cove kitchen has a sleek, sinuous shape.

It is a continuation of Zaha Hadid Design's customisable island launched with Boffi in 2017, which was fitted in the firm's 520 West 28th project that was then nearing completion in New York's Chelsea neighbourhood.

The new Cove kitchen, which was designed for Boffi's 90th anniversary, has been developed and no longer features a large cavity at the front that distinguished the earlier design.

Instead, the new model has two side panels with rounded corners and gently curve along downward peripheral edges.

"Coinciding with the 90th anniversary of Boffi – a brand epitomising Italian elegance, craftsmanship, and design integrity – the new piece evolves from the original Cove concept developed by Zaha Hadid Design in 2017," Zaha Hadid Design said.

"Following the inherent logic of its predecessor whilst offering the flexibility of a modular system, this new iteration is laterally supported by two panels with rounded edges, both with identical sections, covering the entire side of the isle," it added.

The 2024 Cove kitchen has a grey hued marbled countertop and slopes down to create a streamlined aesthetic. It will be available to buy after this year's iteration of the annual Milan design week.

Boffi said its design came from the "visionary mind" of Zaha Hadid, the founder of the eponymous studio who passed away in 2016.

"The Cove kitchen stems from the visionary mind of Zaha Hadid and turns the work island into a convivial space that combines architectural rigour and a forward-looking concept," the brand stated.

The design for the original Cove kitchen by Zaha Hadid Design was based on the studio's famous MAXXI National Museum of XXI Century Arts in Rome and the Heydar Aliyev Center in Baku.

Boffi has worked with a number of well-known designers and architecture studios on its products. Previous examples include the Combine Evolution kitchen by Italian architect Piero Lissoni and a modular kitchen system by Spanish designer Patricia Urquiola.

For more information on Boffi, visit its website here.

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Dezeen has teamed up with DesignMarch to livestream a programme of talks by leading designers exploring the role of architecture and design in addressing global imbalances in the creative industry.

To kickstart the festival, a programme of talks will take place throughout the day on 24 April 2024, which will be live streamed from the Henning Larsen Architects-designed Harpa Concert Hall and Conference Centre in Reykjavík, Iceland.

Called DesignTalks, the event will be split into four themed talks and discussions, which will be livestreamed in three sessions on Dezeen from 10:00am London time.

The first session will explore the role of architecture in supporting communities to confront history, shape alternative futures and how designers can use local resources more effectively.

Amongst the featured speakers will be founding principal and co-executive director of MASS Design Group Alan Ricks and Atelier NL's co-founder Lonny van Ryswyck.

The second session will revolve around design that breaks down cultural barriers and stereotypes, as well as how to build better environments for communities.

Featured speakers will include interior architect and former editor of Frame magazine Robert Thieman, art director Lisa Lapauw, photographer Mous Lambrat, as well as Birta Rós Brynjólfsdóttir and Hrefna Sigurðardóttir, co-founders of design studio Flétta.

The third and final session will be split into two parts. The first half of the afternoon session will explore the design of movement and the "otherworld" through various forms of media including choreography, fashion, embroidery and queer culture.

The talk will feature contributions from choreographer and playwright Sigríður Soffía Níelsdóttir, author and filmmaker Hrund Gunnsteinsdóttir, fashion designer and founder of ready-to-wear brand Latimmier, as well as visual artist James Merry.

Later in the afternoon, the second half of the session will be themed around designing for the human senses and responses, as well as new learning.

The final part of the DesignTalks series will include a discussion between graphic designer and visual artist Rán Flygenring and Bompas & Parr co-founder and architect Harry Parr, who specialises in multi-sensory experience design.

The day will finish with the official opening ceremony of the DesignMarch festival, which will bring together panel discussions as well as individual, group and student design shows.

Now in its 16th year, DesignMarch is Iceland's largest design fair. Curated by Hlin Helga Guðlaugsdóttir, the event covers architecture, fashion, interiors and graphic design.

The five-day fair highlights innovation in Icelandic design and architecture and focuses on research, circular design, sustainability, radical and socio-political themes, as well as the senses.

The full lineup of talks and more information about the festival can be found here. Tickets to the design fair can be purchased via this link.

DesignMarch takes place from 24 to 28 April 2024 in Reykjavík, Iceland. See Dezeen Events Guide for an up-to-date list of architecture and design events taking place around the world.

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Promotion: Czech brand Mmcité has been creating urban furniture for 30 years but continues to adapt to the "constantly evolving" needs of public space, says founder and creative director David Karásek.

Mmcité's benches, bins, bike racks and bus shelters can be found in 40 countries around the world, from Mont Blanc to the Dubai Water Canal and Google's global headquarters in California.

It is known for durable yet aesthetically pleasing products developed in collaboration with Czech and overseas designers. The output is as varied as it is prolific, with everything coming out of its design studio in the town of Uherské Hradiště in the south-east of the Czech Republic, close to the Slovakian border.

Through its contributions to public space, the brand sees itself as a leading producer of high-quality design accessible to everyone.

"For Mmcité this is nothing short of a cultural mission," explained Karásek. "We highly value our cities, so we are always pushing to make them more beautiful."

"Public spaces in a city are fascinating places where people and history meet," he told Dezeen. "I am proud that we focus Mmcité design right here – we can influence everybody's taste, and we love that."

Street furniture is sometimes regarded as an under-appreciated design discipline, but Karásek believes the best examples deliberately avoid drawing attention to themselves.

"Yes, street furniture can be overlooked, and I partly think it's a good thing," he said. "It means it doesn't disrupt the given place, it is not too loud. Instead, it fits in and complements the surrounding architecture."

Balancing high aesthetic standards with all the requirements of street furniture – such as durability, affordability, sustainability and inclusivity – is a tall order.

As a result, Mmcité sometimes spends years developing its products – some of which never see the light of day.

"We develop products honestly, and they must always meet all essential parameters," said Karásek.

"Well-designed street furniture can be compared to well-designed architecture," he added. "Functional buildings bring us joy in their use – thoughtful layout and aesthetics influence our daily lives and our senses."

"The same principles are applied in our field to urban furniture and public spaces."

Mmcité's most recently launched products are the Morse seating collection, designed by Belgian design practice Studio Segers, and the UFO public shelter, designed in-house. They join the Typo 3D-printed concrete planters among the brand's recent releases. The Morse and UFO designs recently scooped Red Dot Awards.

Taking its name from the dot-dash communication method, Morse consists of round or stadium-shaped seats positioned along a single linear bar.

Customisable and available in a range of materials, it is intended for use indoors or out, such as in parks, on riverbanks or in airport terminals.

UFO is an alternative to umbrella-based shelters that rely on a central mast. Its sturdy steel frame is topped by a fabric dome stretched over laminate rods.

An optional levitating circular platform turns the UFO into a daybed, which the brand said is a response to an increasing trend for people seeking undisturbed relaxation in public spaces.

Shifting demands of public spaces require Mmcité to continue to innovate after three decades of designing urban furniture, Karásek explained.

"Like every area of our lives, public space is constantly evolving," he said. "Private merges with public. There are also elements appearing that were not there before and stem from our life needs."

"These can be smart elements for charging our mobile devices, green roofs that, among other things, reduce dustiness in cities, or inclusive elements."

One key change is the move away from car-centric urban design in some cities around the world, said Karásek.

"Mobility in cities is changing, and in some markets, we see a tendency to remove cars from metropolitan public spaces," he noted.

"In other markets, so-called 15-minute cities are emerging, addressing people's needs within walking distance. Thanks to having everything within reach, city life is much better, and our products must respond to this."

For Mmcité, Karásek explained, innovating in response to these wider factors is "we are not talking about any revolution but about continuous evolution".

Despite a string of accolades to its name over the years, including Good Design, Red Dot, IF Design, EDIDA, and Czech Grand Design awards, Karásek is most proud when Mmcité's products continue to be used by the public over long periods of time.

"They function in public spaces for 20 years and are still a full part of it," he said.

"Sometimes we can see them seemingly destroyed, for example, tagged, which gives them a patina but at the same time, they are fully functional. So, we are delighted with thousands of products and projects worldwide."

For more information on Mmcité, visit its website here.

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Promotion: a sleek "hood-in-hob" extractor fan, designed as an alternative to an overhead device, is among the minimalist kitchen products created by Swedish brand Asko.

Know for creating understated cooking appliances informed by Scandinavian minimalism, Asko recently unveiled the Elevate "hood-in-hob", which combines an automatic tower extractor fan and an advanced induction hob.

When activated, the tower automatically rises from the centre of the hob, providing a clutter-free alternative to an obstructive overhead appliance.

The extraction tower includes five different extraction levels as well as automatic and manual clean air functions. According to the brand it has "superior, near-silent performance".

"What really lifts Elevate above the rest is its user-friendly design," continued the brand.

"By removing the extractor from the wall or ceiling, Elevate lets you view the kitchen from a completely new perspective – a blank canvas where anything is possible."

Elevate has been developed using the latest induction cooking technology, featuring the Celsius Cooking system.

A series of add-ons are available – such as a smart pan, pot and a thermometer, which communicate via Bluetooth and work to ensure that food on the hob is cooked at the right heat for the optimal time.

"Home chefs can finally – and confidently – say goodbye to undercooking, overcooking or overboiling," said Asko.

Described as a "personal sommelier", Wine Climate Cabinets is Asko's smart solution to a traditional wine cellar.

Available in four different variants, the vibration-free cabinets are controlled by smart technology, which optimises the light conditions, UV light protection and humidity monitoring of the wine they store.

The contents of the black-hued cabinets can be managed using an interface connected to a camera, an app and a "Vivino" database.

The company calls its ASKO DW60 "the world's most reliable and responsible dishwasher".

The steel model uses UV light to eliminate 99.9 per cent of bacteria, fungi and viruses on crockery, according to the brand. 

With a loading height of up to 58 centimetres, the dishwater has "the world's tallest loading-height and the largest loading capacity", explained Asko.

ASKO DW60 can accommodate 17 place settings that can be cleaned and dried, while users can also stay connected to their dishwasher via the Connect Life app – the same technology used by the Wine Climate Cabinets.

The brand has also designed a freestanding refrigerator characterised by the same fluid design features as the rest of its products.

Asko's fridge was created to store more food for longer and reduce waste as a result of its automatic humidity control function.

A cooling system, called Cool Flow+, ensures that the fridge's temperature is rapidly restored even after opening and closing the door.

There is also the option to separately control the temperature of individual drawers – adding "unbeatable flexibility" to the model.

"This is a fully automated process that prevents fruits and vegetables from drying or decaying," said the brand.

The fridge's freezer compartment can also be converted into a fridge, depending on the user's preferences.

Finished in either stainless steel, white or black steel, the product was created to be flexible around different interior settings.

"Our products are made to save energy, reduce emissions and increase recycling and reuse," concluded the brand.

"Asko kitchen appliances are made with a better future in mind."

For more information on Asko, visit its website here.

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Promotion: Australian brand Woven Image has created a rectangular "hood" that can be suspended above or directly fixed over a workstation or conference table as part of its Fuji acoustic tile collection.

The product was made from 64 per cent post-consumer recycled plastic and features an "exceptional ability" to absorb mid-high frequency sounds or daily conversations, making the overhead tiles "stylish and functional elements" in shared spaces.

Woven Image has built up a broad international client base with its design-led acoustic panels since it launched in 1987.

"Fuji tiles, in their unique appearance, provide acoustic comfort in dynamic floorplans where noise can disrupt concentration and conversation," said the brand. 

"The range's unique design profile and composition serves to reduce reverberation times through a high sound absorption rating."

The Hachi hood is the latest addition to the Fuji series, which comes in rectangular and square shapes.

Like other tiles in the series, the hood features a ribbed texture with a gentle inverted, graphic shape that was informed by art deco and Japonsime, and co-ordinates with its "Zen embossed" acoustic wall panels

Complementing other sizes in the Fuji ceiling tile range, including the Fuji Roku and Fuji Juni, Hachi’s larger format allows it to be suspended over a table or other distinct areas using Woven Image’s hardware.

"Hachi makes for a beautiful workstation hood and offers supreme acoustic benefits," said the brand.

"Alongside the popularity of open-plan layouts and exposed ceilings, the need for integrated, decorative acoustic treatments is greater than ever," it continued.

"Woven Image's latest range of acoustic ceiling solutions are tailored to this careful combination of style and functionality, providing acoustic comfort and character, defining the atmosphere of interior spaces."

All tiles are customisable with an extended palette of 28 made-to-order colourways, which include dusk pink, vineyard green, duck egg blue, black and cream. The tiles can be single or dual-coloured, with a total of 784 different colour combinations.

Tiles can be integrated around ceiling safety features including ventilation or fire sprinklers and are compatible with a range of lighting options.

The Fuji series is also modelled within the Woven Image Revit library, meaning architects, designers and BIM professionals can directly integrate them into project schemes.

The brand said its Fuji tiles have secured critical environmental accreditations. "Fuji Tiles have certifications recognised by the International Green Building Tools including WELL, LEED, GreenStar and BREEAM."

Woven Image has previously created embossed acoustic wall panels informed by Japanese design and recently added five different colourways to the collection.

For more information on Woven Image, visit its website here.

The images are courtesy of Woven Image.

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Promotion: a Toronto hotel featuring dramatic brick arches and a parking lot converted into a public square in Texas are among the winning projects at the Brick in Architecture Awards.

The Brick Industry Association (BIA) recognised a total of 44 winning projects that demonstrated excellence through designs that used fired-clay brick.

Among the winners were nine projects receiving the highest merit of "best-in-class" across the competition's nine categories, each broken down by type.

Categories ranged from craftsmanship, thin brick, international, residential single family, commercial, residential multi-family, education (colleges and universities), education (schools up to year 12), paving and landscaping, and historic renovation.

The organisers said: "These awards celebrate outstanding achievements in the realm of design by honouring projects that exemplify innovation, uniqueness, and aesthetic excellence through the prominent use of clay brick as their primary building material."

The overall craftsmanship award was presented to Ace Hotel Toronto in Canada, designed by Canadian architecture studio Shim-Sutcliffe Architects. The project, which features brick produced by Endicott Clay Products Company, also claimed the best-in-class award in the commercial category.

The modern hotel facade has curvilinear arched elements, accentuated by intricate brickwork executed by Canadian construction firm Limen Group.

Another best-in-class project in Toronto, Canvas House by architecture studio Partisans, took the top prize in the residential single family category.

The exterior of Canvas House is characterised by an undulating skin of blonde brick, crafted by manufacturer Taylor Clay Products and arranged by contractor Finbarr Sheehan in a pixelated pattern.

Meanwhile, New York City project 1 Boerum Place by SLCE Architects was announced as the best-in-class winner of the residential multi-family category.

The Brooklyn housing complex features slim, sand-coloured bricks crafted by Taylor Clay Products and wrapped across rounded corners and cantilevered balconies by contractor HDK Construction.

The best-in-class award in the thin brick category was won by office building 345 North Morgan in Chicago, Illinois, which also achieved a bronze ranking in the commercial category.

Designed by architecture studio Eckenhoff Saunders, the building features lofty barrel vaults constructed with dark brick supplied by manufacturer Interstate Brick and laid by contractor Illinois Masonry Corporation.

Elsewhere in the USA, projects in Texas achieved three best-in-class awards.

The TCU Music Center at Texas Christian University in Fort Worth, designed by Bora Architecture & Interiors, won in the education (colleges and universities) category.

The project has a facade of multi-hued blonde brick that aims to evoke grains of sand when viewed from afar. Manufacturer Acme Brick supplied the material, while contractor Wilks Masonry executed the design.

The best-in-class award for the education "K-12" category (kindergarten to year 12) was presented to the John Webb Elementary School in the Texan city of Arlington.

BRW Architects worked with manufacturer Cloud Ceramics and contractor Accurate Masonry of Texas to create the bold exterior of the educational building, which includes darkly coloured brick arranged in an intricate protruded pattern.

Formerly a parking lot, West End Square, the only public park in its Dallas neighbourhood, won the best-in-class paving and landscaping category following its conversion by New York-based landscape architecture studio Field Operations.

The park is defined by a red-brick promenade that encircles a hilly, tree-covered park. The brick was produced by manufacturer Whitacre-Greer and the herringbone pattern was achieved by contractor Paver Pro.

The 62,000 square foot Texas Christian University (TCU) music centre was another best-in-class winner. The venue was recognised for its "creative commons" outdoor gathering space, "buff brick and limestone, while its soaring central concert hall and textured crown stand out as a celebration of artistry".

Moving away from Texas, community centre Foundry 101 in Cambridge, Massachusetts, was awarded best-in-class in the Historic Renovation category.

Local architecture studio Cambridgeseven worked with manufacturer The Stiles & Hart Brick Company and contractor Fernandes Masonry to sensitively convert the 103-year-old building for modern use while preserving its 19th-century brick.

Another project featuring classic red brick, the TIC Art Center in Guangzhou, China, was the best-in-class winner of the international category.

The civic structure has a solid base featuring long bricks in varying shades of red produced by manufacturer LOPO China. Crowning the base is a large atrium clad in a transparent skin of triangular breezeblocks.

The BIA says it is committed to showcasing the enduring quality and beauty of brick across architecture of all kinds.

"Brick is a versatile material that offers limitless design possibilities with inherent sustainability, unmatched durability, fire resistance and notable energy efficiency," said BIA President Ray Leonhard.

To view the winning projects, visit the BIA's website.

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Promotion: kitchen brand Gaggenau will return to Villa Necchi during this year's Milan design week with an immersive installation called The Elevation of Gravity.

Designed in partnership with Munich-based architecture studio and longtime Gaggenau collaborator 1zu33, the week-long exhibition will highlight the brand's existing product ranges and also provide a first look at future designs.

Gaggenau is exhibiting an installation at the historic Villa Necchi Campiglio

The installation, based on a minimalist design, will be installed in the 1930s villa's glass conservatory. It marks the second time the brand has commandeered this space following its design week event in 2022.

This year's exhibition will serve as a launchpad for its new brand philosophy and will set the stage for a "transformative era in the world of luxury home appliances".

As well as the chance to experience the products first-hand, visitors will be able to enjoy a programme of events at the villa, including a series of discussions, interactive sessions and workshops with thought leaders from the global architecture and design community. They can also meet the Gaggenau design, brand and product teams.

"We are always excited to return to Milan," said Gaggenau managing director Peter Goetz, describing the event as a "must-see experience" during the design week.

"The Elevation of Gravity is an architectural marvel that celebrates the magnetic attraction of convention-defying, life-enhancing craftsmanship," he added. "You will have to be there to truly appreciate the scale of our vision."

Villa Necchi Campiglio was designed and built between 1932 and 1935 by architect Piero Portaluppi and was famously featured in the 2009 film I Am Love, directed by Luca Guadagnino.

To visit the installation during Milan design week register here.

The Elevation of Gravity will be on show at Villa Necchi Campiglio from 16 to 21 April 2024 during Milan design week. See Dezeen Events Guide for an up-to-date list of architecture and design events taking place around the world.

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Promotion: four outdoor brands are working together in "a harmonious collaboration" to create an immersive garden during this year's Salone del Mobile design fair.

Coco Wolf, Cosapots, Renson and Cubic intend to combine "expertise from different sectors offering visitors a holistic outdoor experience".

Promising a "visual and tactile experience", the brands' collaborative stand will chart the evolution of outdoor living design.

London-based outdoor furniture company Coco Wolf will be debuting seating and table designs from its Tamarindo collection within the space.

The range is characterised by rounded, minimal silhouettes and includes a circular outdoor dining table, a swivel chair and a lounger.

Often made from some recycled fabrics and materials such as wood, rope and porcelain, the furniture was designed to be durable and "remain a fixture for years to come".

Alongside the Tamarindo series, the brand will also display products from its Largo, Porto and Coronet ranges, all of which are manufactured in the UK.

Also within the space, Belgian plant pot brand Cosapots will unveil a range of handcrafted pots and planters, including its Orbo, Roco, Lofto, Lupo and Mondo models.

Informed by the appearance and texture of organic materials, the plant pots are made from polyester, fibreglass and natural additives that mimic the look of heavier materials such as clay, terracotta and concrete.

Meanwhile, Belgian brand Renson will exhibit its award-winning Amani pergola, an "intelligently engineered" modular design with a customisable structure.

Winner of a 2023 Red Dot Award, the pergola is available in a range of finishes and colourways. The structure can be personalised with additional functionality such as lighting, screens, curtains, awnings and folding or sliding panels.

German outdoor kitchen firm Cubic Outdoor Living will also be showcasing its new and established products. These include the minimalist Cubic Outdoor Kitchen with a terrazzo-effect finish and its Bar in a Cupboard entertaining solution.

"Our mission is to showcase how stylish and luxurious the symphony of outdoor living can be," said the company.

"We are thrilled to have found partners through our collaboration with Renson, Coco Wolf and Cosaposts who are pursuing the same goal with us and setting new trends in outdoor design together."

Coco Wolf, Cosapots, Renson and Cubic Outdoor Living will be exhibiting at booth A15 in Hall 5 at Salone del Mobile, which will take place from 16 to 21 April at Milan's Rho Fiera fairgrounds as part of Milan design week. See Dezeen Events Guide for an up-to-date list of architecture and design events taking place around the world.

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Promotion: global surfaces brand Senso has created recyclable floor and wall finishes that aim to "provide an elegant, seamless canvas" and a healthier interior environment than traditional alternatives.

Senso's ranges of poured floors and wall coverings are designed to offer continuous coverage for residential and commercial spaces that are soft to the touch.

The brand creates its products, which it says are "the world's first seamless, sustainable and recyclable natural flooring", from plant-based resins, natural binders and toxin-free pigments.

Senso aims to offer an alternative to the seamless epoxy flooring that emerged in the 1960s, which produced environmental challenges and health risks due to the use of petroleum and harmful chemicals, according to the company.

"My dream was to develop a product that was both beautiful and long-lasting but also prioritised sustainability and had a positive influence on people's wellbeing," said Senso founder David Bols.

Following a decade of experimentation and research, Senso's flooring products were launched to "provide an elegant, seamless canvas" and seamless coverage without the use of harmful chemicals.

Available in an array of colours, textures and finishes, Senso's flooring features polished microtopping and comes in a number of iterations.

Superquartz is made from a combination of biobased resin and finely crushed marble. The result is a microblend terrazzo flooring with a swirly appearance.

Fusion is a two-tone, neutral flooring with a velvet-like finish. Another iteration is Bcrete, which Senso makes using recycled fishing nets salvaged from the North Sea and which is characterised by a smooth yet grainy texture.

Like Senso flooring, the wall coverings come in various iterations, including plain white and a grey-coloured "denim" hue. The brand described its wall surfaces as "next-generation Venetian plaster".

Designed to be used in both home interiors and commercial spaces, the surfaces are resistant to limescale and mould, making them suitable for hotels, spas and restaurants.

Senso's floor products have been awarded Cradle to Cradle certification – an independent verification of sustainability performance – and can be recycled at the end of their lifecycle.

From villas in Prague and Berlin to store designs for Heineken and Louis Vuitton, Senso has clad an array of private and public spaces in its flooring and wall products.

"We create products that are truly sustainable for home and the environment, design friendly and made for creative people who want new inspiration with all luxury and comfort finishes," said the brand.

Senso has recently opened three new "experiential" showrooms in Los Angeles, Miami and New York, where customers can view their full product range.

For more information on Senso, visit its website here.

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Promotion: window manufacturer Velux has highlighted the lessons learned by the partners behind its experimental Living Places housing concept.

Living Places Copenhagen, which has an ultra-low CO2 footprint, is a prototype village built in collaboration with Danish architecture studio EFFEKT, consulting engineering firm Artelia and contractor Enemærke & Petersen.

The concept was brought to life last year with the construction of seven prototype homes in Copenhagen.

It aims to establish an affordable, alternative route to building low-carbon housing that prioritises healthy, adaptable and community-oriented design.

The team behind the project believes this "innovative" approach can set a new precedent for the way we build and design homes and is sharing this knowledge with the hopes it can be implemented across the industry.

The partners involved in Living Places recently reflected on the project's learnings and the benefits of adopting a new, collaborative approach to housebuilding, described as a "transformative partnership".

"Transformative partnering is this new way of working where we, throughout the whole process, are all given a voice, collaborating toward the betterment of the goal," said Kasper Benjamin Reimer, head of innovation at EFFEKT.

The concept equally embraces the input of all partners, including the architect, engineer and contractor, with each party acknowledging the value of their respective insight and knowledge.

This led to collaboration at each point of the project, with all parties participating in discussions surrounding issues such as affordability and "buildability".

The documentary highlights the lessons learned by the Living Places partners

The approach behind the Living Places concept can be translated into five building principles: healthy, shared, simple, adaptive and scalable.

According to Velux, these values can be applied to any building, community or city to create affordable and commercially viable homes that benefit both people and the planet.

The healthy principle emphasises a sense of interconnectedness with the natural world, while the shared principle highlights the importance of community.

The simple principle is a reminder to use resources mindfully, a lesson that resonated across the project team and heavily informed its work on the prototype.

"The simple principles are for us as contractors also a way of thinking about how we assemble the elements of a building," said Sophus Hedegaard Johannesen, relations and marketing director of Enemærke & Petersen. "How can we do that in the most simple, most cost-efficient [way]?"

Meanwhile, the adaptive principle focuses on making housing design inclusive and empathetic of users' present and future needs, enabling living spaces to morph to accommodate the changing requirements of family units.

For Sinus Lynge, founding partner at EFFEKT Architects, scalability is one of the most crucial elements in the Living Places formula.

He says that the concept can be translated into multiple affordable solutions for different housing types, encompassing not just single-family houses but apartments and row houses too.

"The scalable principle is important because I believe that we have proven that we can build in this way within the sort of budget and price points of traditional housing," said Lynge.

The Living Places concept is built upon what Velux calls a people and planet methodology.

This holistic approach considers the environmental footprint of the entire lifetime of the building, spanning the production of materials, the construction phase, the home's occupation and the future of the structure after it has fulfilled its use. Consequently, the home was designed for disassembly at the end of its life, allowing the materials to be repurposed.

The prototype also prioritises the experience of future residents. The design is characterised by a steeply sloped, flat-topped roof, which was designed to create double-height spaces that optimise natural ventilation and light.

The housing concept has a class one indoor climate – the best-performing ranking under the Energy Performance Directive for Buildings' Criteria for the Indoor Environment – owing to its optimisation of daylight and fresh air.

The team behind the Living Places prototype aims to share its knowledge with the wider industry and see this experimental approach applied on a larger scale.

"We're not just building a house," said Lone Feifer, Velux’s director of sustainable buildings. "We're trying to create an actual movement. The more professionals we reach, the more they implement this way of thinking into their agencies."

For more information on Living Places Copenhagen, watch the documentary above or visit the Velux Build for Life website.

The photography is by Adam Mørk.

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Promotion: the Arabian Gulf and the Middle East are poised to influence global design trends in an inversion of the West's decades-long impact on the region, according to speakers at a Design Doha panel that can now be viewed on Dezeen.

Held as part of the Design Doha Forum (DDF) at Design Doha, the panel was titled: Emerging Trends: Contemporary Art and Architecture in Arab Countries and Their Role in Global Design Trends. It looked at the changes practitioners in the region had observed in terms of cultural narratives and aesthetics.

The panel featured Quby Creative Consultants founder Banan Yaquby, Saudi Design Festival co-director Basma Bouzo and Babnimnim Design Studio founder Jassim Alsaddah. It was moderated by DDF editorial director Jelena Trkulja.

All three of the speakers have worked in the Middle East and North Africa (MENA) region as well as abroad.

Bouzo, whose background is in publishing, returned from the UK with a desire to counter the "not very favourable" views towards the Arabian Gulf and started Saudi Arabia's first English art and culture magazine, Oasis.

Even in the region, she said, there used to be a perception that there was no Saudi design heritage, but that was changing.

Instead, all the speakers agreed that this was a moment where renewed interest in local traditions and identity among the region's architects and designers had given rise to a unique perspective, one that pushed back on the homogenising effects of decades of globalisation.

"I think what's interesting right now is that we're more proud of our heritage and our background," said Bouzo. "And the push towards actually identifying that and being recognised for that is more of an interesting storyline right now than it used to be."

Yaquby, who moved to the US from Beirut when war broke out in 2006, said that the West had always drawn inspiration from the MENA region, but now it was being acknowledged rather than hidden.

She gave the example of the Cartier exhibition at the Louvre Abu Dhabi, which explored the use of Islamic art as a reference in the jewellery brand's work.

"Even though historically we influenced a lot of things – whether that's in art, design or architecture or whatever – it wasn't really celebrated," said Yaquby. "But I think now things are changing, and I believe that a big part of that is because there's a lot happening in the region."

She said the sense that international attention was being paid to the region meant there was a chance for narratives and aesthetics to flow out from it and make an impact.

"There's a lot of focus on this region," said Yaquby. "I think it gives you that opportunity to have a louder voice and a story that could start from here and extend internationally rather than the other way around."

"I think it might actually shift, where we might see what's happening here influence international practices."

Asked to comment on the role and status of designers in the Arabian Gulf today, Yaquby said that in her opinion, it is better to be a young designer in the MENA region than in the West, because good designers are highly sought after.

"Our voice in design and how we approach design is rooted in who we are, and this is the best time to be a designer in this region," she added.

Yaquby named two Qatari architectural projects that are having an influence overseas: Msheireb, Doha's regenerated downtown quarter that employed a number of sustainable initiatives, and the World Cup stadiums, which featured inventive cooling systems so players and audiences could cope with the heat.

"That is something that will come out of Doha and go to the world," said Yaquby. "We see it with the heatwaves that are happening in Europe and other places that they might need these kinds of solutions."

Bouzo said Saudi Arabia's "giga projects", a series of giant developments, are also making an impact internationally, particularly regarding the collaborative approach they have required of their architects.

"I think it's an entirely different school of thought, where they broke how architecture usually works," she said. "They brought in all the star architects and made them work together in a collaborative manner to come up with solutions that weren't thought of."

"For me, that was inspiring to see how much work went into this and how much the world can learn from what they're implementing in their giga projects."

Alsaddah began to see the crafts and cultural heritage of his native Kuwait with fresh eyes when he returned home after studying in London.

He observed that modern iterations of the MENA region's traditional design were widely visible across the world.

Alsaddah gave the example of the mashrabiya – a type of projecting window enclosed in wooden latticework – as an instance of traditional Islamic architecture that has been picked up by contemporary architects both in the region and abroad.

"Islamic architecture influenced neo-Gothic and even Gothic architecture with the lancet arches, and now we're seeing it going back into the architecture that we're doing now, with the arches and the traditional aspects or traditional ratios of architecture being reused into something that is much more minimalistic," said Alsaddah.

The speakers emphasised that design education has gained momentum across the Arabian Gulf and that there is a huge push towards educational platforms.

Bouzo said that scholarships, the flourishing creative industry and design platforms such as Design Doha and Saudi Design Week "allow for untraditional educational opportunities and cross-collaboration, which is even more important than traditional education."

Yaquby concluded that the explosion of design residencies for international designers in Saudi Arabia and Qatar was also having an impact because they allowed for a more intimate knowledge exchange.

"I think that if someone experiences our hospitality, experiences being with us, you can't write this in a book, it's intangible," said Yaquby. "You have to feel it to understand it."

The Emerging Trends panel took place on 26 February at the M7 cultural centre in Doha, Qatar.

Design Doha is a new biennial event that is set to return in 2026. For more information, visit the Design Doha website.

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Promotion: architect Alper Derinboğaz has used artificial intelligence and research data to create Neogene, a series of 3D artworks created to resemble the mineral bismuth.

The pieces were created for digital art platform Technological Art Experience (TAEX), which described the Neogene collection as "3D artefacts, generated using data morphosis methodology, based on simulations of geological formations from prehistoric times."

The first digital artworks in the Neogene collection are called White Mass and were "re-morphed from bismuth" – a mineral that has existed since the earliest life on Earth.

They represent Derinboğaz' experimentation with artificial intelligence techniques, which he thinks we will eventually be able to use to create physical as well as digital objects.

"We have used 2D AI technologies to project into 3D AI objects," he told Dezeen. "What we will mostly see online is the 2D AI, which actually is a simulation of the representation. I am interested in how we could potentially create real objects through AI."

The Neogene collection comprises 10 3D artworks depicting iridescent Bismuth crystals from different angles.

"Each artefact in the collection has a unique pairing of generated 3D forms and earth-based material qualities," TAEX said.

Derinboğaz, who is the founder of architecture studio Salon, said he created the collection as a continuation of his earlier work.

"The origin of the Neogene collection is rooted in my Leisure Institute studio at Pratt GAUD Architecture," he said. "We were seeking ways to recreate 3D morphologies in the digital realm with AI technologies based on scientific research."

The Neogene collection aims to widen our understanding of architecture and "perception of time".

"I believe we have a generic foundation of imagining an architectural form mostly based on a Western perspective – such as antique typologies, greek temples, primitive hut or even Villa Savoye – whereas this range of architecture history only represents a tiny fraction of what humanity has experienced as architecture," Derinboğaz explained.

"Together with this project, we are seeking foundational ways to simulate geographical artefacts in a Cartesian world, which I believe are easy to translate into physicality."

The artworks were launched at the third edition of NFT Paris – a conference that calls itself the world's largest web3 event – and can be purchased using the cryptocurrency Ethereum.

Derinboğaz believes now is a good time to revisit non-fungible tokens (NFTs) since the boom for them has passed.

"Innovation is an extremely powerful drive," he said. "And I feel responsible to set better examples for what meaning it might have for us."

"The NFT boom is over so I think it is worth a revisit," he added. "NFT feels like a gate to connect both the physical and digital world. And I have been very interested in that since the Augmented Structures project that I did with Refik Anadol in 2011."

The Neogene collection comprises 10 3D artworks

TAEX chief operating officer Vlada One praised the platform's partnership with Derinboğaz and emphasised the power of NFTs and the blockchain system to disseminate knowledge.

"As a science and a medium, architecture appears to its user as something very solid, that would certainly outlive many a human lifespan, yet it is quite unmovable," said One. "Through blockchain, architecture’s power for social and environmental speculation emerges as liquid knowledge, easily transferable worldwide."

"The synergy fostered by this partnership propels us towards visibility and transparency in the inner mechanisms of architectural practices, especially in the nuanced integration of data, like in Neogene."

Derinboğaz has previously designed Ecotone, a set of partially open-air offices for Yıldız Technical University in Istanbul that were created to be "pandemic resistant".

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Promotion: the Global Cement and Concrete Association (GCCA) has announced the winners of its annual Concrete in Life photography competition that aims to highlight the "beauty and essential role that concrete plays around the world".

The winners were picked from 21,000 entries submitted by professional and amateur photographers across the globe, with subjects ranging from skyscrapers, urban cityscapes and transport infrastructure to sea defences and rice fields.

The results were announced this week at the opening of a new exhibition at London's Brunswick Art Gallery, where more than 100 photographs from the competition's five-year history went on show for the first time.

The top accolade, Concrete in Life Photo of the Year, was awarded to Saeed Rezvanian for his black and white photograph of a boy flying a kite on the steps of the Teopanzolco Cultural Center in Mexico. Rezvanian received the grand prize of $10,000.

"My photo shows how concrete develops both artistic and functional environments in our lives. I was captivated by the children playing amongst the beautiful structures," said Rezvanian. "It's a great honour to win the Concrete in Life 2023 competition."

The image received praise from the judging panel, with Digital Camera World content director Chris George describing it as "a beautifully framed image and a good use of black and white".

A new award, the People's Vote Prize, was introduced this year to mark the competition's fifth anniversary. Decided by a public vote, the $5,000 prize was presented to Muhammad Murudin for his photograph of the Mandara Toll Road in Bali.

"This toll road is built on the sea that connects the city of Denpasar, Ngurah Rai International Airport and Nusa Dua in Bali," explained Murudin.

"It is a great honour to be one of the winners of the Concrete in Life 2023 photography competition and show how concrete is an excellent link between people in my country."

Submissions were divided into four categories, with a winner from each category also receiving $2,500.

Owen Davies was recognised in the Urban Concrete category for his photo of the Armstrong Rubber Building in New Haven, Connecticut, in the US.

Andre Hidayat Arrasuli's image of the New Priok Container Terminal in Jakarta, Indonesia won the Concrete Infrastructure category.

Alexander Arregui Leszczynska was awarded the top prize in the Concrete Beauty and Design category for his image of the Maurerhalle lecture hall in Basel, Switzerland.

Meanwhile, A P Hari Wibowo was named the Concrete in Daily Life category winner for their photo of the Aquatic Stadium Gelora Bung Karno, also in Jakarta.

"Many congratulations to Saeed Rezvanian, and all this year's winners. Their outstanding images highlight how concrete is so many things – strong and enduring, but also touching and beautiful, supporting our many lives across the planet," said GCCA chief executive Thomas Guillot, who helped judge the competition.

"Now, with the public exhibition to mark five years of the competition, we hope as many people as possible get the chance to see for themselves just how impressive the images are."

The Concrete in Life exhibition is open until 28 March at the Brunswick Art Gallery and is free to visit.

For more information about the Concrete in Life photography competition and to see the winning and shortlisted photographs, visit the GCCA website.

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Promotion: global furniture company Steelcase has created an office chair with an ergonomic and ultra-lightweight frame designed to react to the body's movements and encourage healthy posture.

The Steelcase Karman office chair was created to eliminate painful pressure points commonly associated with other, less flexible, mesh chairs.

The company integrated its Liveback technology into the chair – a geometric design that "allows the backrest to flex and contour" to the user's form – as well as weight-activated mechanisms designed to shift with the body.

"Comfort is built into every aspect of Karman – it's reactive to each body type and posture and adapts to all the different ways in which we might sit," said Steelcase design director Mark Spoelhof.

"You're not aware of the chair, but it moves with you continually."

Other ergonomic features include an armrest that pivots up and down and a comfort dial that allows users to adjust the level of resistance as they recline.

Featuring integrated cushioning, the chair's suspension seat is covered with a patented mesh textile called Intermix, which also covers the back of the seat.

Made out of a transparent woven material that contains yarn and filaments, Intermix was created to mitigate the sagging that can occur with traditional mesh seat textiles.

"While air circulation, lightness and liveliness are top attributes of a mesh chair, the Steelcase seating team was concerned about the performance as mesh seats can start to sink, making ergonomics even worse," said the team.

According to Steelcase, Intermix achieves a "perfect tension", which allows the user's weight to be evenly distributed for a comfortable seat.

The textile comes in a variety of colourways, from grey and black to steely green, iridescent purple and a range of metallic hues.

Weighing just 13 kilograms, the Steelcase Karman was designed to include "the least number of components necessary", which the company says contributes to the chair's overall sustainability.

"Many of Karman's parts are doing double or triple duty allowing it to function with about one-half less material than traditional task chairs so that it is as organically responsive to the human body as possible," said Spoelhof.

Steelcase's previous designs include a furniture line based on archival designs by Frank Lloyd Wright and an office chair that references the form of an armchair.

The photography is courtesy of Steelcase.

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Promotion: Italian lighting brand iGuzzini showcased its latest products at this year's Light + Building fair in an exhibit that aimed to highlight the company's "light that moves" philosophy.

Produced in collaboration with architecture studio GEZA – who curated the exhibit design – and Artec Studio – who oversaw the lighting scenography – the stand formed part of the annual event in Frankfurt, which ran from 3 to 8 March.

Set across three illuminated stages, the multi-sensory showcase encompassed a range of the brand's lighting products in various contexts, ranging from workspaces and living areas to hospitality and cultural spaces, as well as outdoor urban settings.

"The culture of light and its roots, design, imagination, research and continuous innovation are the ingredients that allow visitors to Frankfurt to experience something different, both inside and outside the iGuzzini stand, which has been completely reinvented for the event," said iGuzzini CEO Cristiano Venturini.

The exhibit opened with an undulating canopy comprising 154 of the company's Light Shed Linen units. The lighting units, which were made from flax, were arranged in a configuration designed to resemble an eye.

"The eye that welcomes visitors not only represents iGuzzini's perspective on light but also reflects the individual, subjective viewpoints that each visitor holds regarding the objects and spaces surrounding them," the lighting brand explained.

Beyond the entrance, a series of pavilions illuminated in a shifting spectrum of colours held separate architectural stages that showcased the brand's products.

In addition to its more established designs, the lighting brand presented two new collections at the exhibit: an electrified track lighting system called Filorail and the Sipario spotlight.

The Filorail electrified track is characterised by its slender profile of just 3.6 millimetres. According to iGuzzini, it's the smallest track ever introduced to the lighting market.

The low-voltage system can be paired with a wide range of lighting products from across iGuzzini's catalogue, including pendant lights and spotlights.

The track can be placed in straight or curved forms along horizontal and vertical surfaces. Its recessed design allows it to blend into the architecture of a space, but it can also be used to create pendant and surface track configurations.

Meanwhile, the Sipario spotlight is designed for living spaces as well as public settings including museums and retail spaces.

The spotlight takes design cues from space exploration technologies and high-precision optical instruments.

The company says that the newly created products mark a step forward in its work exploring connectivity and smart lighting technologies.

“They contribute to significantly reducing energy consumption and [help] to easily access, manage and analyse usage data, promoting smart building management practices and creating a system that is easy to reconfigure and adapt over time,” the brand expanded.

iGuzzini's advancements in smart technology were further showcased in a separate space in the exhibit, divided into three key product sections: wired and wireless smart lighting technologies with indoor and outdoor programmes; smart services with space management and push notification functionality; and Connectivity Beyond Light, where the brand's lighting products were integrated with additional features including sound-absorbing elements, sensors, video cameras and loudspeakers.

Founded in Italy in 1959, iGuzzini is a lighting brand that aims to create innovative lighting solutions for both public and private settings.

To learn more about iGuzzini and its latest products visit its website.

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Promotion: three designers working with crafts have shared their experiences of trying to preserve and revive traditional practices at a panel at Design Doha that can now be viewed on Dezeen.

Held as part of Design Doha's talks event, the Design Doha Forum, the panel was titled Crafting Futures: Models for the Revival and Innovation of Traditional Crafts.

Each of the participants represented a different model for engaging with crafts communities: Jovana Zhang runs the Róng Design Library, which catalogues and preserves crafts practices in China; Adrian Pepe is an artist whose work is focused on wool and is represented in Design Doha's main exhibition, Arab Design Now; and Sara Ouhaddou is one of four Moroccan designers on an exchange programme to work with crafts in Qatar, also through Design Doha.

The panel was moderated by Gwen Farrelly, curator of Design Doha Exchange.

Each of the practitioners spoke about how they became interested in traditional crafts, the challenges they faced in combining them with design and how they managed the sense of responsibility for heritage and the livelihood of others when working in this space.

Pepe said that he had become drawn to craft as an antidote to being at art school, where he felt there was a severe disassociation between the two.

"It was all very abstract and conceptual, and I think I was lacking a way of engaging with my surroundings by engaging through my dexterity with my body," he said. "This is where I started to see that the only moments in which you could do that were in pre-industrial modes of production.

"As you imprint your body onto the matter, it alchemises the matter into something,” he continued. “This is where I became super intrigued."

The final piece of the puzzle came when Pepe discovered Awassi sheep, a breed with a "rich history" in the region that had been used not just for milk, meat and wool, but also to make all kinds of objects.

Yet, he found it was a challenge to locate people who still practised any of these crafts, as he said there is "less and less of a generational handover". Often, he finds himself trying to "reanimate" a practice from a written record.

He said that while he often engages and collaborates with traditional craftspeople, it's important for him to engage in "the meditative act" of the craft process itself.

"I was just in Jaipur and I was reading about Gandhi and cotton spinning and this idea of the meditative act of spinning as an act of resistance, which I thought was so beautiful," said Pepe.

"I think that there is so much power in engaging with that physicality because you can enter a trance state through repetition for endless hours."

For Serbian-born Zhang, her interest in craft began with her family, who were all artisans.

She studied design in Serbia and Italy, but her focus turned to China when she met her partner, Lei Zhang. They moved to China in 2010 and set up their studio, PINWU Design, with the idea of collaborating with craftspeople.

She said their challenge has been figuring out their methodology, which had been developed over many years. A turning point came in their first project when they undertook a residency with a craftsman in a village to learn the ancient technique of making paper umbrellas, thinking they could improve on the ancient design.

"How silly," she said. "It's absolutely impossible [to improve on it]. This is something that you can't do."

Zhang said this one craft involved around 70 steps, including cutting the bamboo, understanding it, "marking it, slicing it, making bones, making paper prints, glueing".

"We tried bending it and slicing other kinds of bamboo or fabricated materials," she said. "All these things failed very badly. But [through] what we did, we picked up a few parts of this craft and created one chair."

The chair they created is an example of craft processes being remixed to make something new – an approach that Zhang and her colleagues have come to call "future tradition".

Zhang's studio founded the Róng Design Library in 2015 and now, alongside her team, they dedicate one year to researching a single material and its use across Chinese crafts. A Chinese artist is then invited to spend a period of time in residence at the Library, making work in response to the team's findings, and this final show then tours abroad.

The Róng Design Library also hosts residencies for international artists, creating a hub of activity and knowledge exchange around crafts.

Ouhaddou, who was born in France to Moroccan immigrants, moved to her family's homeland in 2013 with the idea of "finding her own Morocco", and has since worked with local artisans in different fields.

She said that her challenge was almost an inverse one, where past traditions were being lost within crafts communities because of a lack of education about the value and importance of crafts and craft knowledge. Ouhaddou embarked on a mission to share this rapidly disappearing knowledge and to empower artisans to take control of their crafts.

She gave the example of how craftspeople are disassociated from the materials they use, citing it as an area where knowledge had been lost and had to be revived.

"[Nowadays] everything is imported," she said. "They don't know where it comes from. The knowledge of what you have and how you can work with that is so important for your own heritage."

Ouhaddou also spoke about her sense of responsibility towards the communities she works with, who she felt could be left vulnerable if her designs stopped selling at a profit.

"That's something I think a lot about – like if tomorrow I don't sell anything anymore, what happens?" she said. "So the way I try to answer the question is that okay, if everything stopped, what did I leave you so you can go on without me?"

Sometimes, the reality of a project doesn't match Ouhaddou's expectations. She said that when she introduced a traditional form of embroidery to a classroom of 30 girls, only three proved to be interested.

However, she worked with the three for several years and developed a meaningful collaboration directed by the group. Eventually, one of the three girls went on to open a factory using her skills.

"Then the project is over," said Ouhaddou. "Because one among the 30 is now completely autonomous. They need her more than she needs me."

The Crafting Futures panel took place on Sunday 25 February at the M7 cultural centre in Doha, Qatar. The region's attention to craft emerged as a major theme during Design Doha, which was held for the first time in 2024 and will be a biennial event.

For more information, visit the Design Doha website.

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Promotion: Swedish design brand Bolon is celebrating 75 years of creating luxury flooring and rugs that aim to highlight the "potential in waste".

Launched in 1949 on the premise of "pushing recycling in the design industry" by turning industrial textile waste into premium rugs, all of the brand’s products now contain 68 per cent waste material.

"Recycling is woven into everything we do," Bolon told Dezeen. "In just a few years we have gone from 28 per cent recycled material to 68 per cent by doing what we have always done: we saw potential in waste."

The family-owned brand's manufacturing takes place in a "climate-neutral" factory in Ulricehamn, Sweden, which means that any carbon emissions produced are offset.

Rather than have a "green collection", Bolon has instead pledged to ensure all of its products are climate-neutral too.

"In 2020 we set an ambitious goal to halve our climate impact and ensure that all our products contain at least 50 per cent recycled material by 2028," said the brand.

"This year, we'll surpass our goal substantially and will be able to offer 68 per cent recycled material in all our products."

Some of Bolon's recent material innovations include bio-sourced PVC made from pulp and paper industry waste, recycled PVC and recycled chalk derived from marble slab production.

"In 75 years, Bolon has evolved from humble beginnings to a global leader in design-led, sustainable flooring solutions, with renowned clients across the world," said the brand.

Aesthetics are also important to the company, with prominent names such as Patricia Urquiola and Jean Nouvel all creating collections with Bolon over the years.

The brand says its ultimate goal is to "turn waste materials into beautiful flooring and rugs of supreme quality".

Bolon products previously featured on Dezeen include a muted made-to-measure rug collection designed for high-footfall commercial interiors and Bolon Studio, a collection of woven flooring in bold geometric prints that can be customised by users.

The company, which says it is committed "to never standing still", is also considering a number of future initiatives.

"We are currently looking into developing a take-back [scheme] for used flooring and rugs," said Bolon.

"We are also going to continue our journey to replace virgin materials with recycled or bio-sourced materials."

"We believe in creating new dimensions by challenging conventions and breaking down barriers," it added. "We are dreamers and innovators and see that in the future we will be able to offer woven design to more than just flooring and rugs."

To find out more about Bolon's sustainability pledges, visit its website.

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Promotion: long-running Finnish design fair Habitare will take place in Helsinki in September along with its returning trade platform Habitare Pro.

Running for more than 50 years, Habitare is Finland's leading design fair and live creative event, providing a platform for the Nordic nation's designers and brands.

The event will curate the latest furniture, lighting and accessories, as well as showcase material innovation.

The fair is now appealing to more international visitors as part of a drive to boost Finland's profile as a design destination.

"Finland, which was just crowned the happiest country in the world, is a hidden gem of the Nordics," said Habitare.

"Design is in the DNA of every Finn and an appreciation for nature, craftsmanship and design quality runs deep, as evident in the architecture of Finnish homes."

Last year, as many trade fairs sought to evolve in the wake of the coronavirus pandemic, Habitare relaunched Habitare Pro with a new initiative and direction.

A trade and business-to-business platform, Habitare Pro is a reimagining of the traditional design trade fair format. It has been revived for 2024 following its successful debut last year.

Habitare Pro features interactive workshops intended to stimulate meetings, questions and conversations. Networking events are also held in the space, which includes a central bar and meeting lounge.

The layout is intended to provide emerging and established brands with a level playing field and an opportunity to showcase products to a targeted business audience.

"The real social media is interaction with people in the flesh," said Habitare Pro creative brand manager Hanna Laikola.

"Digital advances to meet and present products are fantastic, but nothing beats a creative meeting in a physical environment."

With the fair attracting both trade and consumer attendees, Habitare's priority this year is to introduce international visitors to new Nordic brands and introduce Finnish visitors to international brands, as well as present Finland as a hub for sustainability-focused innovation.

The fair's theme for 2024 is Layers, in reference to the "layered and lived-in feel of homes, spaces and objects". Habitare will feature an exhibition created by Yatofu, a design studio based in Helsinki and Shanghai, that reflects this theme.

"The theme reminds us of the cyclicity of design, the revival of styles and how old and new exist side by side in every moment," said Yatofu.

Taking place in the Messukeskus convention centre in central Helsinki, Habitare will run from 11 to 15 September with the first three days dedicated to trade attendees.

The programme will feature several talks with architects and designers such as Fredrik Paulsen, as well as presentations from thinkers, academics and foundations, including the Alvar Aalto Foundation.

Local showrooms in the Helsinki city centre will also open up during the fair to host events including product launches and parties. According to Habitare, local businesses benefit from increased visibility by collaborating with the fair.

Since its launch in 1970, Habitare has attracted over 50,000 visitors and 400+ exhibitors. To find out more about Habitare, visit the fair's website. Trade visitors can register to attend here, using the code HABIPRO24. Non-trade visitors can purchase tickets here.

The photography is by Eeva Suutari unless otherwise stated.

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Promotion: Bentley's bespoke commissioning division, Mulliner, has unveiled its flagship SUV that aims to combine the performance of a supercar with the comfort of a limousine.

Designed to offer the "ultimate in comfort and space", the Bentayga Mulliner builds on the brand's focus on prestige, presence and personalisation.

The car aims to provide high levels of comfort while giving drivers full off-roading capabilities as well as supercar performance from its 4.0-litre, twin-turbocharged V8 engine.

"The launch of the Bentayga Extended Wheelbase Mulliner defines a new pinnacle for the Bentayga family and indeed the Bentley model range, adding a new level of modern craftsmanship to the already potent combination of supercar performance, go-anywhere ability, driving dynamics and limousine rear cabin of the Bentayga EWB," said Bentley.

Combined with the car's driving and handling performance – it can go from zero to 60 miles per hour in 4.5 seconds and has a top speed of 180 miles per hour – its extended wheelbase creates more internal cabin space than its luxury competitors.

Within the car, Mulliner has added a range of new design features and bespoke enhancements designed to "make every journey an occasion to be savoured".

The cabin interior is defined by a streamlined, high-gloss veneer, quilted upholstery, which envelops the seats and doors, and a diamond-milled, aluminium finish across the centre console.

These luxury finishes are complemented with high-tech additions including illuminated 3D treadplates and LED welcome lamps, which project visuals onto the floor.

The highly customisable interior can be fitted with either four or five seats that each benefit from Bentley's latest postural technology, which offers 22 ways of adjusting the seats to support the comfort and wellbeing of passengers.

The Bentley Airline Seats were informed directly by the experience of high-end flying. In Relax Mode, they can recline to nearly 40 degrees, while Business Mode moves the seat to an upright position that's more suitable for working.

In line with the brand's ethos, the interiors are personalisable with nearly 4,000 colour combinations. Buyers can choose from a selection of eight curated tri-tone colour combinations such as the warm-toned Flare or cool-toned Storm, or specify their own palette using any three colours.

These hues are designed to complement the soft, olive tan leather lines of the car's cabin. The leather is tanned using organic by-products from the olive oil industry, a technique that requires less water than the conventional tanning process. This keeps the leather free of harmful metals, minerals and aldehydes and seeks to encourage a healthier interior environment for users.

All the interior materials were carefully considered, with the cabin's thick, deep pile overmats made from a specially selected wool variety, chosen for its cleanliness and purity of colour, while the cabin carpet is made from 100 per cent recycled nylon.

With roots that can be traced back to 1760, before the birth of the motor car, Mulliner has worked with Bentley since 1923 creating everything from special features and finishes to entirely new coachbuilt vehicles.

The Bentayga Mulliner stands alongside the Flying Spur Mulliner, Continental GT Mulliner, and Continental GTC Mulliner – each the flagship of their respective model lineups.

To learn more about the car, visit Bentley's website.

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Promotion: Czech lighting brand Bomma has released a modular pendant light made of hand-pulled crystal-glass rods designed by Kateřina Handlová.

The Flare light consists of three separate glass tubes – one straight and two curved – that Handlová designed so that they can be arranged into numerous constellations.

The pendant was made using a traditional glassmaking technique, where a length of molten glass is covered in small shards known as sinter before being dipped into liquid glass to form a smooth outer layer.

Finally, the whole tube is stretched to the desired length, pulling the shards into a dramatic internal swirling pattern.

"This creates a magical texture inside the rod, seemingly its own universe, flaring every time a switch is flipped," Bomma said.

The minimalist design of the Flare light – unveiled at the Light + Building trade fair in Frankfurt earlier this month – is complemented by a brushed silver or gold mounting on one side.

The light is suspended from either one or two thin steel wires that hold the pendant in position.

"I'm always surprised by the amount of construction and aesthetic details required for such a simple mounting," said Bomma's creative director Václav Mlynář.

"The light is designed to provide maximum diversity, and this is why we put great emphasis on the ceiling mounting and its ability to branch the individual pendants."

The rods can be used individually or combined to create more voluminous installations for larger spaces like stairwells and double-height spaces.

Flare's modular construction allows the pendant to fit into a range of different interiors, from homes to more spacious commercial interiors.

"Flare can be just a line, a detail or a monumental installation in office buildings or hotel lobbies," Handlová said.

For more information visit Bomma's website.

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Promotion: architect David Chipperfield has delivered a critique of his profession as part of a panel discussion at the Design Doha Forum that is now available to stream on Dezeen.

Chipperfield spoke alongside Design Museum London director Tim Marlow and Qatari architect Ibrahim Jaidah on a Design Doha Forum (DDF) panel titled "Agent of change: how design shapes society and culture".

Moderated by DDF editorial director Jelena Trkulja, the panel looked at ways that design and architecture were having both a positive and negative impact on lifestyles, culture and the environment.

Chipperfield expressed a sense of anxiety about the idea of technical progress and its consequences today, especially in regards to social changes and the environmental crisis.

"I think we've changed our idea of what progress is itself. For the first time in my life, I would say there's a certain loss of confidence in the absolute notion of progress," he said.

He added that cultural heritage, identity and the problems of globalism were all "expressions of anxiety", which could be traced back to consumerism and its effects on resources and the climate.

Chipperfield said that although the most critical decisions about the built environment were made further up the "food chain", before the involvement of architects, they nevertheless had been part of a process that has changed cities for the worse.

"I would say as architects, we have been part of, in the last 30 or 40 years, a process which has not necessarily improved our cities, has made our cities more expensive to the point at which most people can no longer afford to live in them," he said.

"We've done a sort of social cleansing on cities like London, Paris, Zurich. Everybody has to live on the outside. We've been part of that."

The British architect also critiqued the involvement of his profession in globalisation, saying it had made all cities look the same and resulted in "the moving of materials from one side of the planet to the other for no real reason".

But he said that like many contemporary architects and designers, he had now reorientated his practice to try to fix some of these mistakes.

The architect spoke of a project he had completed through his research agency Fundación RIA where, after five years of community consultation, they had built a new public seating area on a former car park on the waterfront of Spanish town Portos de Galicia.

"In the maturing years of my professional career, I get enormous satisfaction of having a village as my client, a community as my client, and trying to find physical resolution and capturing common concerns and concerns that might improve quality of life," Chipperfield said.

Marlow agreed with Chipperfield, adding that educating the public and trying to shift taste was critical in enabling these kinds of projects and that the same was true for industrial design.

"If we want to find ways of reusing plastic, we have to move away from the obsession with perfect monochrome material and actually have something that looks like the Play-Doh that we all had as children, when it all got amalgamated in the same box," he said.

Jaidah, whose past work includes the Al Thumama Stadium in Doha and some of Qatar’s most iconic buildings, spoke of how he had seen tastes change in Qatar in his own lifetime.

"I have witnessed this in my 30-plus years of career," he said. "At the beginning, identity was literal: we had to continue doing what we had done. Because our history came to a halt when the oil came, that vernacular disappeared."

"It didn't evolve like other nations in the world – you got the Gothic and then you had the Renaissance and then the Bauhaus,” he continued. “No, here a halt came, and then international style came, then all these boxes."

He said that since 2000, international designers and architects had "helped us redefine what our identity or our culture is" and that adaptive reuse had become more common and considered.

"Your culture is beyond the skin of a building," said Jaidah. "It's your environment, it's your surroundings."

"I think the younger generations, the next generation, are going to be lucky because they're going to build on what they have seen. My generation had to start from almost scratch to get reinspired."

Chipperfield ended with a note that there were lessons to be learned from Qatar’s approach to urban planning, referencing the Msheireb cultural district, the "unique" area around the M7 cultural centre where the event took place.

"We've eroded our planning systems," said Chipperfield. "The government here [in Doha] decided to impose an idea of making a piece of city. In most cities – I mean outside of Switzerland, let's say – there isn't a planning authority, because we have bought into the idea of the free market."

"When you look at the commercial district, it's a very pure expression of market forces, as is now London," he continued. "That's what the market does if you leave it alone, and I think that's the issue that we have to think about."

The panel talk took place on 26 February as part of the forum at Design Doha, a biennial event that was held for the first time this year. For more information on the event, visit the Design Doha website.

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Promotion: Spanish company Cupa Pizarras has developed Cupaclad, a facade cladding system made from slate that aims to provide a sustainable alternative to conventional exterior finishes.

The Cupaclad system was created by Cupa Pizarras to showcase the material's design merits, from its recognisable grey colouration to its insulation properties.

The raw slate used for the Cupaclad system is mined out of 20 quarries located across Spain, all of which are owned by the company. An additional 24 processing plants handle the slate and ensure it is ready for application.

Cupaclad was designed to have a natural, clean aesthetic that aims to adapt to any style of building, from the traditional to the contemporary.

Regardless of the building's design style, the system caters to modern standards of energy efficiency and sustainability, according to the company.

"Natural slate is a mineral product, and its production process from quarry to installation is highly efficient and does not employ any chemical products," said Cupa Pizarras.

"[We offer] a natural product which has less environmental impact than any other alternative materials for roofs and façades."

In addition to acquiring and processing the stone for the system, Cupa Pizarras has an in-house support team ready to aid designers and architects at each stage of the project, from initial ideation to installation on-site.

Projects that utilised Cupaclad include an A-frame house in Angers, France, and a house on Costa Street in London that has an extruded roof clad in slate.

Cupa Pizarras has supplied slate cladding for larger-scale projects too, including for the monolithic Cache County Public Works facility in Utah, USA.

The cladding was also used in the design of the College of Engineering, Technology and Aeronautics (CETA) in New Hampshire, USA, which comprises two buildings with dramatically pitched roofs covered in slate.

Cupa Pizarras is a natural slate company that was founded in Spain in 1892. Its products have been used in projects across 60 countries and five continents.

The company has branches in a range of locations including in the UK, USA, France and Denmark.

For more information on Cupa Pizarras, visit its website here.

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Promotion: Bentley Motors has partnered with luxury whisky brand The Macallan to create a limited edition single malt Scotch whisky presented in a precision-engineered glass vessel that "challenges the conventions of traditional whisky".

Called The Macallan Horizon, the single malt whisky is the first product to emerge from the brands' collaboration, a partnership that Bentley defines by a shared commitment to "craftsmanship, creativity and innovation".

Featuring a 180-degree twist detail and a diamond-cut lid informed by Bentley headlights and upholstery, the glass vessel is designed to lie horizontally, recalling the form of a car and "the horizontal plane of the automotive world".

The glass is enveloped in a precision-engineered aluminium ribbon that recalls the foundation and bodywork of a Bentley car.

A sculptural case protects the luxury whisky vessel and features a chestnut-hued, low-carbon leather lining. The case is inlaid with Bentley's Crown Cut Walnut veneer, a specification developed for its vehicles.

The surrounding precision-engineered frame is crafted from recycled copper, some of which was taken from old stills previously used by The Macallan for its single malt whisky production.

Referencing a material that's important to both brands, the oak inlay detail on the closure is made from one of the six casks used in the maturation of the single malt whisky and draws on the design details of the Bentley Drive Dynamic Control rotary dial.

"Our collaboration with Bentley and the knowledge exchange we have undertaken has inspired us to see things very differently," said Jaume Ferràs, creative director of The Macallan.

"In the spirits world, everything is vertical, such as our stills and our bottles. When we looked at the horizontal plane that Bentley's grand tourers occupy, it made us consider if and how we could adapt this format for whisky, which ultimately requires to be poured and enjoyed."

"The beautiful design we have created together for The Macallan Horizon and the unique materials that have been incorporated are testament to the incomparable craftsmanship, innovation and creativity for which The Macallan and Bentley are renowned."

For the whisky itself, The Macallan master whisky maker Kirsteen Campbell selected six individual first-fill sherry-seasoned oak casks from the stocks maturing in the warehouses at The Macallan Estate.

"Each of the six casks we selected to craft the whisky was carefully chosen to contribute particular characteristics and create a unique flavour profile, so that in combination they bring together the leather and oak notes found in the interior of a Bentley with the signature, warming spice of The Macallan," said Campbell.

"The result is a very special whisky which is as refined, complex and bold as its extraordinary design."

Described as beautifully balanced and indulgent, the single malt "captures the essence of a Bentley".

"We've spent years working with The Macallan through our partnership, taking time to craft this incredible first joint product that represents the best of both brands," said Adrian Hallmark, Bentley's chairman and CEO.

"Centred on innovative materials throughout that reflect our focus on the future, the end result – both the whisky and the vessel that contains it – are stunning and represent a new benchmark for design, materials and quality in this space."

Launched to coincide with the 200th anniversary of The Macallan, The Macallan Horizon will be available from The Macallan Estate Boutique and The Macallan’s global network of domestic and travel retail boutiques, as well as in premium off-trade retailers.

For more information visit www.themacallan.com.

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Promotion: aluminium chain-link hangings created by Spanish design brand Kriskadecor are being used for ceiling installations to enhance a variety of interiors.

Kriskadecor's aluminium chains – a design the brand patented in 1932 – come in a diverse range of colours, finishes, shapes, densities and alignments.

As well as utilising the product as space dividers, wall coverings and facade cladding, the brand has observed a trend for architects and designers to create bold and unexpected ceiling installations with its aluminium chains.

This includes the 61 Osteria restaurant in Fort Worth, Texas, which was crowned with an opulent-looking geometric gold chain arrangement. Meanwhile, the Ecla Paris Villejuif youth co-living residences in France feature loops of colourful chains hung from the ceiling.

"One of the most captivating and potentially impactful elements in interior design is the ceiling, as it can instantly capture attention, adding a touch of surprise and charm to the environment," said Kriskadecor.

"That's why more and more interior design professionals are paying special attention to their creative possibilities, making them stand out thanks to original and striking designs."

According to the brand, ceiling installations can heighten the sense of space within an interior, while the chains' reflective properties help to diffuse natural daylight or accentuate the glow of lighting.

Kriskadecor's technical office approaches each project as a one-off, working with clients to create a piece that is personalised to the space.

As the material is light, it can be used to create a wide variety of different installations, including large-scale hanging sculptures. The chains can be used to create soft waves, dense volumes and even the illusion of rain, says Kriskadecor.

The installations can be used to dramatically change the overall feel of a space, for example decreasing the height of a ceiling, making a large room feel more intimate or delineating areas within an open space.

The chains are available in a wide colour palette, ranging from anodised finishes to any RAL or Pantone hue. Kriskadecor even has a custom in-house design tool that can reproduce any picture, pattern or logo, treating every link in the chain as a pixel.

Kriskadecor's chains are durable and low-maintenance as aluminium is resistant to corrosion and wear.

Supporting the circular economy, the metal is infinitely recyclable and the chain links comprise 20 per cent recycled material.

To find out more about Kriskadecor's custom-design solutions, visit the company's website.

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Promotion: furniture brand Kave Home has launched a series of tables, chairs, sun loungers and sofas designed to elevate outdoor spaces and provide relaxing places to sit and dine.

The Outdoor Collection aims to combine functional design with tactile materials, interspersed with pops of colour to create "spaces bursting with personality", the brand said.

Various materials were used across the outdoor furniture range, including micro cement as well as a range of natural materials, such as teak wood, stone, ceramics and natural textiles.

One of the more colourful designs in the collection is the cement and terrazzo Mesquida table, which comes in varying shapes and a spectrum of colourways including mustard, terracotta, light green and dark green.

Other colourful pieces from Kave Home include the Arenys portable outdoor lamps, rugs made from recycled PET plastic and decorative candles and planters.

"Kave Home adds intense colours to its collection, providing a perfect contrast to the fine materials with more natural shades," said the brand.

"A perfect example would be the Mesquida enamelled cement and terrazzo tables which contrast with the Presili and Rotja plant pots and the Sapira candles," it continued.

"The chromatic nuances of these collections provide an artistic and minimalist image to outdoor spaces."

Among the seating in the collection is Kave Home's first modular sofa named Sorells. The L-shaped five-seater sofa was designed to create a corner space in the outdoors that is stylish, comfortable and adaptable to the user's needs.

It features removable cushions and a weather-resistant aluminium frame. It is also available as a singular armchair or in a two- or four-seater configuration.

The Sonsaura and Dandara sun loungers were designed to suit a range of outdoor spaces.

Sonsaura has a eucalyptus wood frame with armrests and upholstered seat cushions. Dandara, meanwhile, comprises a steel structure wrapped in black or beige cord with acacia wood legs and has a matching circular table.

The Vellana and Saconca furniture sets, both containing a range of seating sizes, are characterised by hand-braided rope cords that form arm and backrests.

Kave Home's Outdoor Collection also includes a range of circular outdoor tables, including an aluminium and teak wood table named Tudon and the white cement Addaia table.

For a cohesive outdoor dining set that can resist outdoor weather conditions, Kave Home recommends combining the acacia wood Nina chairs with the Alcaufar table, which features a white cement tabletop and a cone-shaped base made from strips of teak wood.

With over 40 years of industry experience, Kave Home is an international brand founded by Francesc Julià that designs, manufactures and distributes furniture and homeware worldwide.

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Promotion: the James Dyson Foundation is inviting design students and recent graduates who are "problem-solvers, not grandstanders" to enter its annual James Dyson Award.

Launched earlier this month, the James Dyson Award 2024 aims to recognise the world's most exciting young inventors who have created "ambitious designs that address a global issue".

The awards are open to students and recent graduates and the winners will be personally picked by Dyson founder James Dyson.

"The world needs more doers – problem-solvers, not grandstanders, who are ready to take on the problems of our time," said Dyson.

"Every year the James Dyson Award gives young people a platform for their medical and environmental inventions, and much more besides."

"It's their 'wrong thinking' that leads to breakthroughs, whether it's the development of a new sustainable material, or the application of clever engineering principles to help improve people’s lives. I look forward to seeing what new inventions this year's award brings!"

The judges will be looking for designs that solve a real-world problem.

Entries will initially be judged on a national level by a panel of external judges and a Dyson engineer, with a winner and two runners-up chosen for each national award. Each national winner will receive £5,000.

These national winners and runners-up will form the top 20, from which Dyson will select the International Winner and the Sustainability Winner. The winners of these two global prizes will receive up to £30,000 towards the development of their invention. A global runner-up will be awarded £5,000.

The James Dyson Award aims to recognise the world's most exciting young creators

Entrants, who must have been enrolled in an engineering- or design-related university course within the last four years, can submit their projects on the James Dyson Award website.

The entry deadline is midnight on July 17.

Running since 2005, the programme has supported 400 young inventors by awarding more than £1 million in prize money.

Last year's International prize was awarded to a non-powered, hands-free intravenous device, which was designed by students from Hongik University to be used in disaster zones, while in 2022 the top prize went to an infection-sensing wound dressing.

Other previous national winners featured on Dezeen include a scoliosis brace for teenagers that was designed to be worn "with confidence", a device to reduce blood loss from knife wounds and an ultrasound-powered male contraceptive device.

To enter the James Dyson Award visit its website here.

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Dezeen promotion: product designer Marc Sweeney says that the small classes and "nurturing" environment of Istituto Marangoni London gave him the confidence to start his own studio.

Sweeney studied for an MA in Product Design at Istituto Marangoni London and graduated in 2022. He now runs his own studio from the banks of his native Loch Lomond in southern Scotland.

According to Sweeney, the course was the catalyst for many of his most notable designs – including the bio-resin Pepper Pepper Mill, a stylised take on the common kitchen gadget, which aims to exploit the decorative potential of peppercorns and serve as an "ornament in its own right".

Sweeney was initially attracted to the Product Design MA at Istituto Marangoni London because of its ties to the fashion industry, focus on real-world project briefs and roster of experienced tutors.

He praised the school's "supportive and nourishing environment", which he says gave him the tools to take risks with his designs.

Julie Ross, programme leader of Istituto Marangoni London's MA design programmes, described Sweeney as "one of the most authentic and talented product designers" she has taught.

"I have witnessed Marc grow into a very dedicated practitioner who finds form through the material he explores, in addition to surface and tactility," she said.

While studying, Sweeney assisted furniture designer Max Lamb before returning to his native Scotland in 2023 and opening his studio and workshop in Loch Lomond.

Sweeney's most recent product design is the Pepper Pepper Mill, a sculptural pepper mill crafted from bio-resin embedded with peppercorns. The design is cast rather than milled to minimise waste.

"[It explores the] idea that food is material," said Sweeney. "I love these kinds of objects that are never tidied away. It’s an ornament in its own right. It just so happens that you can put the contents of it on your eggs.

"This is my favourite thing that I've made so far."

According to Sweeney, the idea for the product came from an Istituto Marangoni London project led by materials specialist and author Chris Lefteri.

Sweeney’s next focus is on what he calls "guerrilla production" – which he describes as a departure from his usual work. The project will see Sweeney take on the role of a "one-man factory", producing multiples of products in a fast-paced environment, rather than one-off pieces.

According to Ross, it’s just the beginning for the designer.

"Perhaps his biggest strength is his ability to connect strong narratives within his work," she said. "I’m sure Marc will continue to develop as an extremely professional designer and maker."

Other designs by Sweeney include The Glory Chair, a modern reinterpretation of a traditional Scottish Orkney chair, which was completed as part of the MA programme.

Find out more about Istituto Marangoni London’s Product Design MA by visiting its website.

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Promotion: architect Ben van Berkel has created an apartment block in Munich featuring a pixelated exterior clad in ivory-hued concrete panels made by manufacturer Rieder.

Named Van B, the housing was designed by van Berkel – the founder of architecture firm UNStudio – to serve as a model for adaptable urban housing suited to various demographics and family structures.

Van B is situated next to Munich's Kreativquartier in Schwabing-West and comprises a range of flexible apartments alongside outdoor areas and communal spaces.

Its exterior is defined by asymmetrical projections, including large windows and balconies that have been lined with copper-coloured metal.

This gives rise to a pixelated facade, which is covered with large cladding panels made of glass fibre-reinforced concrete. These were prefabricated by Rieder with a thickness of just 13 millimetres.

The panels are finished with an ivory hue designed to visually soften the look of the concrete while creating a juxtaposition with the copper-coloured metal.

According to Rieder, the panels were chosen for the project as they are durable and designed "with the future in mind" – in line with van Berkel's ambition for the housing complex.

Like the building's adaptable homes, the panels are customisable, with their format, surface, texture and colour able to be modified.

"Just as modern living space should be flexible and sustainable, Rieder's concrete facade solutions also follow the principle of 'individual, straightforward and durable'," said Rieder.

"The mix of different nuances and textures is what makes the glass fibre-reinforced concrete facade product stand out," added the brand.

"Copper-coloured metal and rough concrete skin elements prove to be an unbeatable team in the facade design of Van B."

The concrete panel range has been developed by Rieder to help architects achieve "architecturally sophisticated facades".

"Rieder has made it its mission to reimagine and make usable the world of concrete," the company said. "The often rather unwieldy concrete is delicate-looking and a great solution for the building envelope with a wide range of applications."

The concrete panels are prefabricated and designed to be hooked into place and adjusted on-site, to save both time and resources during construction.

"Pre-assembly in the factory independent of weather conditions and a high degree of prefabrication ensure a high standard of quality, rapid assembly on-site and an efficient construction process," said Rieder.

"This is what the future of building construction looks like: resource-saving, time-saving and sustainable for people and the environment."

For more information about Rieder products, visit www.rieder.cc.

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Promotion: Spanish bathroom brand Roca and designer Inma Bermúdez have given taps a colourful makeover with their award-winning Nu collection influenced by Mediterranean architecture.

Vibrant green, blue and yellow are among the collection's six glossy colourways, chosen for their ability to stand out in a traditionally white bathroom, according to Roca.

"Our initial inspiration came from whitewashed Mediterranean houses with their blue, green, and red doors," Bermúdez explained.

Other references that influenced the design of the collection include the multicoloured mosaic floor tiles commonly found in Barcelona's Modernist apartments.

According to Bermúdez, the Nu collection was influenced by the "explosion of colour in interior design", which she says has taken hold since the pandemic.

Small red and blue dots to indicate hot and cold water are hidden below the faucet's handles and revealed only when the tap is opened, forming a smiley face together with the rim of the faucet's body.

"We tried to make the products come to life because we believe that objects have an essence," said Bermúdez.

"We wanted to make things easy and beautiful, and if we can evoke a smile in the process, then all the better."

Nu, which was crowned bathroom and kitchen product of the year at the 2023 Dezeen Awards as well as winning several other industry accolades, is available with three different handle options.

While the Dome handle has a playful bulbous shape, Pin is a thin elongated handle and Stripes has a cylindrical body with a ridged exterior reminiscent of the knobs on old stereos.

Combined with the range's extensive colour palette, which also includes more traditional chrome, black and white options, Roca says the collection is surprisingly adaptable to different spaces.

"Flashy without being garish, Nu's elegant colours add something quite iconic to Roca's faucet catalogue," the brand said.

"By the same token, Nu is a versatile collection, providing architects and interior designers with a choice to complement their personal style."

Designed to minimise water consumption, Roca has integrated an aerator into the top of the faucet that reduces the flow of water without reducing water pressure.

Similarly, the taps were designed to open on cold water as a default to help reduce emissions from heating water unnecessarily, says Roca.

According to Roca, taps from the Nu collection are made in Europe in a bid to cut down on the environmental impact of long-haul transport and packaged and shipped without single-use plastics.

For more information on the Nu collection, visit the Roca website.

The images are courtesy of Klunderbie.

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Promotion: Belgium-based flooring design company Modulyss has created a range of carpet tiles that aim to aid in the design of interiors that consider inclusivity and neurodiversity.

According to Modulyss, carpet tiles are an often overlooked element of interior design schemes. Its new collection aims to shed light on both the physical and psychological benefits of considerately specifying carpet tiles in mixed-use interiors.

Carpet tiles can help both to zone areas and to indicate spatial transitions to people who have visual impairments through their striking patterns and their use in tandem with each other, says the company.

Changes in pattern go hand in hand with changes in texture, which can serve as navigational markers for spatial users with impaired eyesight, according to Modulyss.

The company says that the colour of tiles can also cater to people with diverse sensory needs by helping to either stimulate or calm the atmosphere of the space.

Meanwhile, the sound-absorbing qualities of tactile carpets can also help to minimise sensory overload for those who are sensitive to sound, says the brand.

"Flooring plays a crucial role in crafting spaces that embrace this diversity," said Modulyss. "Well-chosen carpet features can elevate your design and foster an environment of comfort and inclusion."

The company has developed an extensive selection of carpet tile collections aimed at supporting inclusive interior design.

Artcore, one of Modulyss' ranges, is informed by the way landscapes fade into one another topographically and can provide visual and tactile cues when used throughout interior schemes.

Another of the company's collections, Modus, contains multiple subtly patterned finishes that reference the passage of time and various natural processes, including the way that rust forms on metal.

The four patterns in the Handcraft collection represent the relationship between craftspeople and the natural world, including Leaf, which is based on the appearance of fallen leaves, and Grind, which draws on the rough pathways trodden by people through nature.

All of Modulyss' collections are cradle-to-cradle certified, meaning they are globally recognised as products that support the circular economy, which is dedicated to eradicating waste and repurposing materials at the end of a product's lifespan.

Modulyss is a Belgian brand that designs and manufactures floor tiles that can be used in a variety of interiors.

For more information on Modulyss, visit its website here.

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Promotion: Formica Corporation has launched a collection of versatile surfaces that reference current trends in interior design and were informed by customer research.

The 2024 Living Impressions Collection was created by Formica in response to extensive interviews conducted with North American homeowners and interior designers.

The brand conducted these interviews during the development of the collection to better understand their customers’ design needs and upcoming design trends.

"We want homeowners to take immense pride in their homes and we believe trend-forward, high-design, beautiful surfaces should be accessible to everyone," senior design manager at Formica Corporation Gerri Chmiel said.

"Striking the right balance between material costs and design aesthetics is crucial and the latest Living Impressions Collection provides durable, low-maintenance surfaces that empower homeowners and designers to achieve their desired look without compromising their budgets."

Three trend themes emerged from this research, which form the basis for the new collection.

Modern Minimalism contains surfaces with subtle patterns in warm-toned colourways that were chosen to create soft and understated finishes.

Surfaces in the Casually Biophilic theme bear patterns informed by nature, including wood grains.

Finally, the Contemporary Classic theme takes cues from the appearance of natural stone, which is a continually popular material in the construction and decoration of buildings.

Across these three themes, seven large-scale stone patterns – called the 180fx Laminate line – and six laminate patterns were created.

The collection's surfaces were designed to be highly durable and can be utilised in a variety of applications.

The products can be used to line cabinet fronts, countertops and backsplashes in kitchens and bathrooms. They are also suitable for use as tabletops and can be utilised across other furniture items.

Formica Corporation is a surfacing company specialising in the design and manufacturing of its own patented Formica laminate material, which was pioneered in America in 1913.

To learn more about the new surfaces, visit Formica's website.

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Promotion: the Norman Foster Foundation has collaborated with building materials company Holcim to develop the Essential Homes Project, a concrete-wrapped modular housing concept for displaced people.

Presented in Venice during the 2023 Architecture Biennale, the low-carbon and energy-efficient housing prototype is designed to improve living conditions for the estimated 103 million people who are currently displaced across the globe.

Displaced families can live for decades in settlements that were only ever supposed to be temporary.

"How can we ensure everyone, including some of our world's most vulnerable populations, can have access to decent living conditions?" asked architect Norman Foster, president of the Norman Foster Foundation.

"During the Venice Biennale we showed our work-in-progress on this idea; the outcome of a few months of intensive activity in collaboration with Holcim."

The Essential Homes modular housing units are built using a range of Holcim's sustainable building solutions. They have a 70 per cent lower carbon footprint compared to traditional structures, according to Holcim.

Each dwelling is wrapped in low-carbon rollable concrete sheets, which serve as an external shell. Holcim says that rollable concrete uses up to 95 per cent less material than standard applications.

The units are designed to be installed en masse to support displaced communities. When installed side by side, the modular homes carve out open public spaces.

Permeable pathways made of Ecopact low-carbon concrete connect the homes. To reduce energy use and light pollution, the concrete was mixed with luminescent aggregates that absorb light during the day and reflect it at night.

The design of the modular housing units incorporates Holcim's energy-efficient insulation systems, including Elevate boards across the interior floor and Airium mineral insulating foam across the roof. Both materials were designed to optimise thermal and acoustic comfort for residents.

The base of the Essential Home prototype is made from Holcim's Ecocycle product, which comprises recycled construction demolition materials. The product aims to strengthen the homes and make them more weather-resilient.

The housing units do not require any excavation as the base lies on Holcim's Elevate membrane, which the company says prevents moisture from penetrating the structure.

When the units are no longer needed, each component of the Essential Homes model can be dismantled and recycled in future building projects.

"I am very excited about the potential for impact coming out of this collaboration," commented Jan Jenisch, chairman and CEO of Holcim.

"It enables essential homes that are built with some of our low carbon, energy- efficient and circular building solutions, showcasing how sustainable building can be possible for all."

For more information visit Holcim's website.

The photography is by Chiara Becattini unless otherwise stated.

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Promotion: narrative not built environment is the key to making a place "sticky" says Era-co global director Steven Cornwell who shared his insights into placemaking with Dezeen.

The concept of "stickiness" in urban design and community building refers to whether people will want to stay in a place rather than simply move efficiently through it.

While some urbanists argue that physical environment is key to making a place sticky, Cornwell sees it differently he says.

"Placemakers like myself believe that stickiness is in a place's narrative," he said. "When you understand people, you envision places that attract them and give them a sense of belonging."

According to Cornwell, he started Era-co in 2019 after carving out a niche at the intersection of marketing and placemaking.

Previously, he had become dissatisfied with marketing as the main tool for delivering outcomes related to stickiness in real estate. He observed that only around one in 10 of the places created using this approach fulfilled their objectives around this goal.

Since then, Era-co has worked on placemaking strategies for communities including Greenwich Peninsula in London, the Guinness Quarter in Dublin and Hollywood Park in Los Angeles.

"I took what I learned and set out to create places that make a difference in people's lives," said Cornwell. "Today, our team empowers communities to succeed by designing spaces that anticipate what people need now and decades into the future."

Here, Cornwell shares his tips for placemaking through narrative and how to achieve stickiness.

Get into the field

Placemaking can't be entirely conducted from behind a desk, cautions Cornwell.

Census reports, Google Earth and third-party studies are all valuable tools for gathering data related to placemaking.

But they won't tell you about the smell of a place, its trees, its wind – all factors that form part of the character of an area, Cornwell explains.

"Before my team makes decisions, we physically spend time in a place," said Cornwell. "We immerse ourselves in that place morning, noon and night."

He encourages using data to support a vision rather than to start it and to test place narrative by standing in a place and seeing "whether or not the experience enables you to catch that vision".

Have a long view

Placemaking, urban design and architecture have become a short-term game Cornwell argues, with many of today's projects working in four-year time frames and measuring outcomes accordingly.

Instead he says it needs to be understood that the narratives around a particular place began before the commencement of a project and will continue to be written after its end and this is something that strategies and deliverables should reflect.

To facilitate this, Cornwell says that placemaking should be viewed as an act of co-creation actively involving stakeholders such as developers, architects, engineers, planners, marketing teams and most importantly communities.

"Short-term placemaking is driven by politics, money and people who don't understand that communities ultimately make places," said Cornwell.

"The reality is that great places are hundreds of years in the grooming and we need to be content with creating the inspiration and vision."

"We set the platform and the scene but the community drives the story."

Aim for alignment not consensus

To inspire people who both live in and visit a place, its narrative should have a few characteristics says Cornwell – it should be rich, clear, useful, visionary and relatable.

Importantly, it should not flatten out the diversity of narratives within a space that might mean different things to different people, he explains. Instead, it should make them fit together.

"A strong narrative aligns the people in a space," said Cornwell. "Placemakers don't need everyone to agree, but they do need alignment. Once everyone's on the same path, you get strong designs and sticky places."

Protect imperfection

On a similar note, while the instinct might be to design places to have 100 per cent safety, comfort and community, the fact is that isn't what attracts people, according to Cornwell.

He gives New York as an example – it might not have the perfect infrastructure or most cohesive community, but people love it.

For this reason, Cornwell says placemakers need to leave space for "subculture, scrappiness and oddity" – qualities that make places interesting.

"I've seen beautifully manicured spaces that no one goes to — their streets are empty and they are deserts of culture," said Cornwell.

"As placemakers, we're not here to sanitise places or create eutopias. Our challenge is to leave space for imperfection."

To find out more about Era-co and its approach to placemaking, visit the company's website.

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Promotion: co-creation platform Gemini Laboratory has partnered with Dezeen to launch its first architecture and design competition, which invites entrants to "create an entirely new worldview".

Gemini Laboratory describes itself as "a co-creation project aiming to realise a 'mirror world'" between the virtual and physical worlds.

The online community has launched its first Global Design Awards – a programme for seeking out design approaches that straddle both the metaverse and real world.

The competition is open to anyone and free to enter. Gemini Laboratory is particularly encouraging applications from architects and architecture students, as well as fashion, products, materials and games designers.

To enter, applicants must create a proposal for an "alternative worldview" and a data library spanning the virtual and the physical. This can relate to any design field, such as architecture, gaming or film.

Entries must include appropriate visuals – whether they are images or other digital data – accompanied by descriptions to communicate the applicant's idea.

Those participating in the competition are invited to explore AltField, an online platform created by Gemini Laboratory.

"AltField is a platform and data library that enables users to share and edit alternative information spaces where multilayered worlds interact, paving the way to new and unprecedented designs," said the collective.

While applicants are permitted to use artificial intelligence when creating their entries, they should state what platform they have used if they do so.

Among the judging panel are architect and theorist Mark Foster Gage and curator and author Pamela Golbin, with one more judge still to be confirmed. Entries will be judged based on the criteria of innovativeness, imaginativeness and feasibility.

For successful candidates, there are four categories with prizes up for grabs.

The Grand Prize will offer a single competition winner $5,000, while an individual runner-up will receive $2,000.

One entrant will receive $1,000 for the Gemini Laboratory Special Award and three separate entrants will win Judges Awards, which do not include a monetary prize.

"With the latest fabrication technology facilitating the conversion and translation of digital data to physical objects, we are now in an era where virtual sensibilities flow into and activate physical design," said Gemini Laboratory.

"We invite you to construct an entirely new worldview from materials that may transcend the five senses, spanning into even time and space."

The Global Design Awards' application deadline is 29 April and final winners will be announced on 20 May via the Gemini Laboratory website.

The latest news on the awards will be shared via the company's Discord channel, which can be joined here.

Other events held by the collective include the Gemini Laboratory Kickoff event, which took place in 2022. The in-person, four-hour session invited professionals from fields including art, technology and academia.

In July, Gemini Laboratory will host the German Talk and Exhibition Experience. Previously held in Cologne, the event will take place in Tokyo and explore the collective's worldview.

For further details about the Global Design Awards competition, visit this website.

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Promotion: US-based philanthropic organisation the Vilcek Foundation has announced the winners of its 2024 Prizes in Design and awarded a total of $250,000 to four designers.

The Vilcek Foundation welcomed submissions from immigrant design professionals living and working in the US who specialise in graphic, industrial and product design.

The Vilcek Foundation Prizes in Design are one of a number of annual awards programmes run by the organisation.

According to the foundation, its core mission is to celebrate the contributions of immigrant artists and scientists in the United States and to raise awareness of the importance of immigration for a robust society.

The foundation also aims to foster appreciation for the arts through exhibitions and arts publications.

The 2024 Vilcek Foundation Prizes in Design encompasses two awards: the Vilcek Prize in Design and the Vilcek Prizes for Creative Promise in Design.

The Vilcek Prize in Design is bestowed on an established designer by a jury of industry professionals appointed by the Vilcek Foundation.

Meanwhile, the Creative Promise Prize recipients were selected through an open-call process. Immigrant designers under the age of 40 who have lived and worked in the United States for several years were eligible to apply for the accolade. Applicants were reviewed by a jury of experts and were selected for demonstrating "outstanding early achievement" in their industry.

Ramon Tejada, assistant professor at the Rhode Island School of Design (RISD), is the recipient of the 2024 Vilcek Prize in Design.

"The Vilcek Prize in Design is awarded to a designer whose career and work has had a profound impact in their field – not only to their clients and constituents but to the students and mentees they inspire through their design leadership and pedagogy," said the Vilcek Foundation.

Born in the Dominican Republic and raised in New York City, Tejada was awarded the 2024 Vilcek Prize in Design which includes a cash prize of $100,000 for his work, which focuses on social issues including race and the impacts of colonialism.

"Tejada's work reframes questions about diversity, accessibility, and equity in design," said Vilcek Foundation president Rick Kinsel.

"He describes his practice as both a designer and teacher as 'puncturing' – a breaking of the surface to reveal the social and political frameworks that have historically underwritten bias in design standards and practices."

Three prizes of $50,000 – the Vilcek Prizes for Creative Promise in Design – were also awarded to Juan Carlos Noguera, Wael Morcos and Maryam Turkey.

Noguera, who was born in Guatemala, was praised for his work in product design that centres on accessibility.

Noguera is a professor of industrial design at the Rochester Institute for Technology and earned his MA in Industrial Design from RISD.

"His work on accessible wheelchairs for people living in rural areas of Guatemala and on educational tools for science and technology promotes civic engagement and builds equity for individuals and communities in need," said the Vilcek Foundation.

A fellow RISD alumnus, Morcos was honoured with a Vilcek Prize for Creative Promise in Design for his approach to typographic and graphic design, which "incorporates complex cultural and political histories".

Informed by the language of his native country Lebanon, Morcos aims to utilise his graphic design skillset to develop accessible, modern Arabic typography at his Brookyn-based design studio Morcos Key.

"My aim is not only to ensure that the written form of the language is adequately represented in various digital contexts but also alive and amenable to future iterations," Morcos explained.

The third recipient of a Vilcek Prize for Creative Promise in Design, Turkey explores themes of war, gender norms and patriarchal constructs through sculptural forms that combine organic and industrial materials such as paper pulp, sand, metal, rebar and wood.

Turkey, who was born in Iraq, is an alumnus of the Pratt Institute and was an artist in residence with the Museum of Arts and Design in 2019. She has exhibited her work throughout the United States and internationally.

Since the establishment of the Vilcek Foundation Prizes in 2006, the foundation has awarded more than seven million dollars in prizes to immigrant artists and scientists living and working in the United States.

Read more about the 2024 Vilcek Foundation Prizes in Design on the organisation's website.

All photography is courtesy of the Vilcek Foundation.

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Promotion: the Florence Institute of Design International has launched two new bachelor's degree programmes for 2024 in interior design and graphic design at its campus in Florence, Italy.

The Florence Institute of Design International (FIDI) is based in the city's historical centre, with all courses drawing upon the area's legacy of art and design while maintaining an international outlook, according to the university.

Open to students from any country, both degrees will be taught in English and qualifications will be co-issued with Goldsmiths, University of London.

"The two new degree programmes are structured to give deeper levels of study in theory and materiality while maintaining the same practical skill and objectives of the current BA programmes," said FIDI founder director Marc Di Domenico.

The new degrees are replacing the previous BA Design programme run in collaboration with the University of Chester, which had course tracks for graphic design or interior design.

"The new curriculum in collaboration with Goldsmiths promotes a more progressive understanding of the creative process behind design as students delve deeper into theoretical frameworks while maintaining focus on interdisciplinary approaches, practical applications and real-world problem-solving," said Di Domenico.

According to FIDI, the new interior design programme will explore innovative technologies and sustainable approaches in areas such as 3D printing and parametric design, as well as covering the production of lighting and furniture prototypes. Students will have the opportunity to engage in collaborative projects, hear from industry experts and explore various disciplines and digital technologies.

In the graphic design programme, students will get to work with video, photography, multimedia and typography as a means to "explore visual communication, societal influences and trends". FIDI says that the focus will be on the development of independent design thinking, critical analysis and transferable skills.

According to the school, both courses will be led by highly respected architects and designers, with an emphasis on small teaching group sizes and substantial contact hours.

The programmes include guest lectures, field trips and technical visits and students will have the opportunity to undertake professional practice and internships in their second and third years of study.

The first intake for the new degree courses will be in September 2024. The programme is open to candidates from any country with 112 UCAS points or equivalent, plus visual arts training and proof of English skills. The fees are €11,400 (£9,740) per year.

FIDI was founded in 2008 and is located in a historic palazzo that has been fitted out with facilities including computer labs, photography labs and model-making studios.

The school says it has welcomed students from over 50 countries during its history, with more than 100 students currently enrolled in its bachelor's programmes.

For more information on the new degree programmes, visit the FIDI website.

The top photograph is by Kari Varner.

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Promotion: Industrial Facility has created several furniture designs for Herman Miller that aim to transform underutilised spaces into agile workspaces.

Clerkenwell-based Industrial Facility designers Sam Hecht and Kim Colin first collaborated with Herman Miller in 2007, designing furniture collections that "balance the need to live a full life with the desire to keep things simple".

OE1 Workspace Collection includes multifunctional furniture pieces designed to help people evolve their space by evaluating what furniture is required at the moment while quickly making changes if needed. The collection was recently expanded to include pieces that aim to help organisations transform underutilised areas into flexible workspaces.

"With its multifunctional designs and mobile elements, OE1 helps organisations create agile, hard-working workspaces," said Hecht.

The collection's OE1 Mobile Easels are designed for easy collaboration while the OE1 Agile Walls aim to let employees quickly create flexible areas to collaborate on group projects or quiet spaces for work requiring concentration.

The collection includes several table and desk products, such as the OE1 Project Table and the OE1 Nook, which allow organisations to provide employees with a wide range of spaces to support their needs as they change throughout the day.

New additions to the collection aim to make the set increasingly relevant for diverse organisations.

These include the height-adjustable OE1 Sit-Stand Table that has a residential appearance, which is "ideal for employees to feel comfortable and create their own space in most areas of the office", according to senior vice president of global product at Herman Miller, Malisa Bryant.

It also includes the OE1 Workbox for storing stationery and work tools and the OE1 Personal Hoodie, a "tabletop boundary" designed to reduce glare and distraction.

"Sam and Kim's passion for industrial design empowers organisations and individuals to find their own perfect blend of purpose, performance and expression," said Bryant.

"The enhancements to OE1 provide our customers with even more flexibility to adapt their floorplates as their needs change."

Parts of the OE1 Workspace Collection – such as the tables – are ideally paired with Herman Miller's office seating solutions according to the brand, which includes the Lino Chair designed by Industrial Facility in 2018.

The Lino Chair has a contoured structure that is designed to provide balanced movement and a dynamic fit. The chairs are designed to be breathable and support the spine due to a variety of different thread tensions. The chairs are available in a wide range of colours to fit in various settings.

The designers also created the Herman Miller Civic Tables collection – a table range that comes in a range of heights, shapes and sizes, which can be used in a variety of settings, including work, home and hospitality.

The collection includes tables for conferences, meetings, cafes, lounges, collaborations and side tables, each available in a choice of colours, materials and shapes.

Hecht and Colin say their eclectic style comes from the fact that Colin is from California and Hecht is from London.

"Each of us is from a different part of the world and we collaborate constantly about ideas, methods and opinions," said Colin. "Our work is never created in cultural isolation, and therefore our office behaves like a good, condensed international neighbourhood, which is efficient, energetic, and pleasurable."

Many of the studio's designs are part of museums' permanent collections, including the V&A Museum in London, the Pompidou Centre in Paris and MoMA in New York City.

Colin and Hecht have both been named prestigious Royal Designers for Industry (RDI). The studio's monograph entitled Industrial Facility was published by Phaidon Press in 2018 and catalogues its portfolio.

To view more of the studio's Herman Miller designs, visit their website.

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Promotion: Swiss architecture studio Küchel Architects has designed a cantilevered house on an elevated site overlooking Lake Maggiore in Ascona, Switzerland.

Described by the studio as an "architectural marvel", the home aims to showcase its natural surroundings, while ensuring the privacy of its residents.

Built on a sloping plot in Ascona, the four-storey building's rectilinear form features a glazed front facade punctuated by a steel framework.

According to the studio, careful consideration was given to the topographical intricacies of the site, resulting in a structure that "gracefully follows the contours of the hill, ensuring an organic fusion with the landscape".

At the front of the house, the exterior landscaping takes its cues from a traditional Italian piazza, featuring a curvilinear lawn and a large, sweeping driveway that leads down to the garage.

"This inviting space pays homage to the communal spirit of Italian town squares, providing a gathering point that encourages social interaction and a connection to the surroundings," said Küchel Architects.

In a bid to connect the home to the region, the building's base comprises locally sourced rubble stone, some of which was hewn in the nearby Aosta Valley region of the Alps.

"The choice of this material not only establishes a tactile connection with the rich history of the region but also evokes a sense of timelessness, reminiscent of the weathered stone structures that once dotted the landscape," explained Küchel Architects.

The same stone was utilised in the construction of the louvres that line the rear facade of the upper two floors.

"The stone louvres not only serve as a protective element but also introduce an impressive counterbalance to the otherwise light and transparent character of the structure," the studio said.

The home's entrance is sheltered by the upper two stories, which cantilever over the ground floor. A pair of bronze-clad columns set into a flight of granite steps frame the front door.

Inside, a sculptural staircase with a flowing, black balustrade is one of the main focal points, while dark wide-plank wood floors, recessed lighting and neutral hues characterise the living spaces.

"A central elliptical spiral staircase, inspired by an organically shaped shell skeleton, traverses all four floors of the house, imparting a dynamic and artistic dimension to the interior," the studio said.

Floor-to-ceiling glazing stretches across the front elevation of the house, drawing in natural light and picturesque vistas.

According to the studio, the home's viewpoints were thoughtfully considered to ensure an "uninterrupted visual connection to the breathtaking panorama of Lake Maggiore".

The interior spaces on the upper two floors spill out onto decked terraces encircled by balustrades, which extend the length of the house.

"The rectilinear and defined forms of the building are interrupted by organically shaped glass balustrades, creating a harmonious balance between modernity and natural aesthetics," explained the architects.

The main terrace on the first floor features a covered outdoor dining area that "seamlessly transitions" into an infinity pool overlooking the valley below.

Meanwhile, the home's steel framework crowns the rooftop terrace, offering a means to install sun sails in the future for extra shading.

"In essence, the house amalgamates modern elegance, sophisticated design, and perfect integration into the natural environment," said the studio.

For more information about the work of Küchel Architects, visit the studio's website or Instagram.

All photography is by Reto Guntli.

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Promotion: design studio Muza Lab has created the interior and exterior spaces of the One&Only Aesthesis resort, bungalows and villas in Athens, Greece.

The resort is situated in Athens' southern suburb of Glyfada and includes a lobby, villas, restaurants, bars, a beach club and a spa.

Set within 21 hectares of protected forest reserve, One&Only Aesthesis is located close to the ancient wonders of the Greek capital.

The area is known as the Athens Riviera and is characterised by its mild, Mediterranean climate, lush vegetation and opulent beachfront residences.

Muza Lab was informed by the area's history and culture when developing the overall design scheme, as well as drawing on six natural elements – fire, water, earth, air, metal and light.

Natural light is present throughout the interior spaces regardless of their functions, with large windows allowing both light and nature to enter the rooms.

Textural local stone and marble are also used across the scheme, uniting the spaces by underpinning them with naturally occurring materials found in Greece.

The studio also turned to mid-century design when selecting finishes and furnishings, which refer back to a time in which the Athens Riviera was at its peak.

The entrance to the lobby is via a sloped catwalk designed to draw guests directly to the view at the water's edge.

According to Muza Lab, the lobby's minimal interiors aim to bring focus to the local materials used.

The neutral colour palette is broken up by geometric patterns and woven leather accent pieces, which celebrate Greece's leather goods industries.

The bungalows are clustered around expansive terraces and pools and their interiors are characterised by a palette of browns, beiges and vivid blues.

Bright textiles and light oak fittings are joined by leather and woven goods that animate the bedrooms and create an authentic atmosphere specific to the region.

Bathrooms in each bungalow are studded with bronze fixtures and stone bathtubs, giving them an air of timelessness.

Rain showers, characterful light fittings, natural stone walls and floors and bright textiles continue to provide an air of quiet luxury.

The resort's restaurants, bars, beach club and spa have subtly differing themes – for example, the spa is informed by Greek gardens.

Muza Lab, founded by Nathan Hutchins and Inge Moore, is a London-based design studio that works internationally in residential and hospitality sectors, from safari lodges in Botswana and resorts in the Maldives to superyachts and private chalets.

For more information on Muza Lab, visit its website here.

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Promotion: Corian Design and its Quality Network Partner fabricator Hasenkopf aim to achieve durability and "timeless elegance" in a complex of luxury apartments in Berlin.

Corian Solid Surface is suitable for use across an array of spaces and surfaces, from kitchen worktops, sinks and backsplashes to bathroom counters, basins and walls.

The material is low in volatile organic compounds (VOCs) and according to the company, helps to support improved indoor air quality as recognised by its Greenguard Gold certification.

The range was selected by Germany-based architect Annette Axthelm, whose team won a competition to design the eight largest apartments in the Upper Eastside Berlin complex.

The 11-storey building in the German capital features retail stores and office space across the lower two floors, while the upper levels accommodate residential units.

Axthelm's team was tasked with designing the living spaces of a number of apartments, ranging in size from 300 to 400 square meters, some of which suffered from a lack of light.

"The architects mainly played with the use of light, brightness, perspectives, and versatility of the floor plan, incorporating large doors that pivot and slide to open up and connect nearly all rooms," said Corian Design.

"To maintain a bright and seamless design, the doors in the bathrooms, as well as the entire bathroom furnishings, were executed with a maximum white tone and a seamless design."

Axthelm opted for Corian Solid Surface in Glacier White across the apartments' walls, built-in elements and bathroom fixtures.

German industrial manufacturing company Hasenkopf, one of Corian Design's Quality Network Partners, fabricated Corian Solid Surface and oversaw the integration of the material into the project, working closely with the architects and construction team.

Interior construction company Flömö, based in Saxony, Germany, oversaw the fit-out of the apartments and furniture production.

"Through the consistent use of Corian Solid Surface material and by relying on the expertise of Quality Network fabricator and materials expert Hasenkopf, we were able to achieve impeccably executed thermoformed curves and seamless finishes, perfectly integrated with the other materials selected for the rooms," explained Axthelm.

"This allowed us to ensure complete satisfaction for builders, homeowners and architects alike, as well as impeccable colour consistency and durability for the apartments."

Corian Design describes Corian Solid Surface as imparting "flawless, seamless surfaces, and exceptional durability" to the apartments while aiming to make the living spaces easier to clean.

The material is non-porous, which prevents dirt and stains from penetrating the surface. The seamless monolithic finish minimises mould, germs and viruses thanks to its lack of crevices and "simplifies cleaning, sanitising and routine maintenance". Corian Design says this aims to limit the overuse of cleaning products and disinfectants that could be harmful to the environment.

According to the company, Corian Solid Surface is a material that represents a long-lasting design solution: it aims to withstand daily wear and tear, keeping its original look for many years.

Corian Design says that scratches, chips and more serious damage can be easily mended and the surface can be brought back to its original condition, increasing the material's lifespan and aiming to reduce expenditure in the future.

For more information about the Corian Solid Surface range, visit the brand's website.

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Promotion: NCS Colour has released its latest colour report documenting its predicted colour trends in 2025 that highlight "a need to connect with nature".

The trends report spotlighted the need for colour variation and hues that "transcend traditional boundaries". According to NSC Colour, this includes a mixture of bold contrasting colours and ethereal pastel-coloured hues that have "an airier and lighter quality".

The brand outlined four collections called Gaia, On and Off, Inner, and Ethereal, each consisting of six trending colours.

The brand described Gaia as "a tribute to nature and water", which includes green and blue tones intending to add a calming presence to interior spaces.

Ethereal was designed to represent "light and fluid colours that bridge the physical and digital worlds", while On and Off features bold and contrasting shades that NCS Colour said were needed due to a desire to "stay connected in a divided world".

The fourth palette is Inner, which includes warm and earthy tones designed to represent "subtle yet enduring strength".

The brand said that these colour palettes represent the colours that will be trending in 2025. It believes that hues that evoke "warmth, comfort and joy" will be vital and predicts a departure from an era focused on neutral colours.

"For 2025, like the world, our colour preferences will differ quite dramatically, it is a year of big contrasts," said creative director at NCS Colour, Karl Johan Berclsson.

NCS Colour is an international provider of colour communication solutions. Its trends forecast was researched and developed by NCS colour experts and a team of colour trend forecasters and aims to give design professionals guidance on which colours to choose for their projects.

"Predicting colour trends in an ever-complicated world is challenging," said Elin Askfelt, CEO of NCS Colour. "We are proud to present the 2025+ trend forecast to inspire customers and offer insights into trend movements, enabling well-informed colour decisions and the creation of captivating colour harmonies across various industries."

To learn more about the report, visit NCS Colour's website.

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Promotion: Foster + Partners Industrial Design team has collaborated with German door handle brand FSB to launch a door handle collection that conveys the architecture firm's attention to detail.

Foster + Partners' industrial design team created the FSB 1291 and FSB 1292 door and window handles for FSB, which are regarded as a premium solution for civic and commercial spaces.

The cornerstone of the product family is FSB 1291 – a handle that combines a distinctive shortness with a flattened top edge, giving it a pronounced contact surface.

FSB 1291 with its pebble-like softness is designed to be pleasurable for both the hand and eye and was moulded to fit the palm. FSB describes the product's subtly refined design as elevating the overall experience of moving through a building.

"When we take hold of a lever handle, this is often our first contact with a building," said head of Foster + Partners Industrial Design, Mike Holland. "A coherently designed handle provides a warm welcome – through looks and haptic qualities geared towards utility and inspired by people's needs."

The initial design of the FSB 1291 shaped the rest of the product family, which includes FSB 1292 – a handle with a longer grip.

Further enhancing the tactility of the handles is the option of FSB's new finish: Aluminium Pure. The brand describes it as "a visual and tactile advance and at the same time particularly sustainable", as the usual final steps in aluminium processing are eliminated, leaving a raw appearance that makes the product easily recyclable.

According to FSB, making aluminium in this way also uses less energy and water.

1292 FSB is part of Declare, which is a "nutrition label" for building products designed to help specifiers identify products that meet their project requirements.

According to FSB, Declare discloses all intentionally added ingredients or residuals present in the final product by weight, which is at or above 100 parts per million – 0.01 per cent.

The FSB 1291 and 1292 handles are also offered in standard aluminium, stainless steel and bronze – metals that according to FSB have a long life and suit a wide variety of architectural concepts. They come in a variety of versions for different requirements and an EN 179-compliant model.

Founded by Norman Foster in 1967, Foster + Partners is one of the world's leading architecture firms, known for buildings such as London's Gherkin and California's Apple Park.

The firm also has a long history of industrial design, including pieces like the Arc table for Italian brand Molteni&C.

FSB was founded in 1881 by Franz Schneider, a maker of antique-style cabinet fittings and brass devotional items who eventually came to focus on hardware for doors and windows.

For more information on the FSB 1291 and 1292 handles, visit the FSB website.

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Promotion: the OMA-designed, multifunctional BLOX building on the Copenhagen harbourside aims to promote interdisciplinary thinking to help build a more sustainable future.

Home to four organisations that focus on architecture, design and creativity, BLOX welcomes more than 250,000 visitors each year, while more than 1,000 people work at the building.

With BLOXHUB, Danish Architecture Center, DDC – Danish Design Center, and Creative Denmark all located in the building, it aims to be a "cross-disciplinary ecosystem" focused on collaboration.

"We need to collaborate closer than ever and innovate across sectors, competencies and borders," said Majken Kalhave, executive director at Creative Denmark and a member of the BLOX management team.  "Otherwise, we will not be able to translate our common agenda of sustainability into practices."

The focus on collaboration between disciplines aligns with the calls to action made at the recent UIA World Congress of Architects, which was hosted in Copenhagen last year. At the event, BLOXHUB hosted a series of nine science talks including with the International Centre for Climate Change and Development (ICCCD) director Saleemul Huq.

By providing a space for professions across the built environment and creative industries, BLOX aims to encourage discussion and dissemination of information needed to create within an increasingly complex world.

"Both the private and public players are taking in new knowledge and getting better at exchanging it," said Kalhave. "You cannot do it alone if you want to build spaces that cater to all of life," she continued. "We are here to support that movement."

Each of the organisations within the building share this aim, with BLOXHUB, focused on sustainable urbanisation, DDC – Danish Design Center aiming to create sustainable growth through design, Creative Denmark highlighting the work of creative industries in the country and Danish Architecture Center being an international destination offering tours and exhibitions.

All four organisations are currently involved in the EU-supported Desire project, which aims to transform neighbourhoods across Europe.

"It is an important project for us," said BLOXHUB CEO Torben Klitgaard, who is part of BLOX's management. "It exemplifies how our combined skill sets can be put to use and address several challenges at once, such as citizen involvement, climate resilience, and biodiversity prioritisation."

Along with encouraging collaboration between disciplines, one of BLOX's core aims is to involve the public alongside professionals in the growing discussions surrounding the future of our cities.

Through talks, exhibitions, workshops and tours, over a quarter of a million people are exposed to the professional discussions taking place within the building.

"Citizens are primary stakeholders in the building process and BLOX reflects that," continued Klitgaard.

Earlier this year Danish Architecture Center filled its space with models that explore the history and future of the city's buildings and landscapes. Named Copenhagen in Common, the exhibition showcased the city's best and worst architecture.

Next year it will explore architecture's physical and mental impact on people through its Aware exhibition, which is being created in collaboration with Danish architecture practice 3XN. This exhibition continues BLOX's ethos of engaging visitors to make systemic change.

"If we want to rethink our systems, we must take into account what is instinctively meaningful and desirable. To achieve this, we must apply creativity to make the sustainable choice irresistible," explained Kalhave.

Having opened in 2018, the BLOX building contains a co-working space and apartments, as well as four sustainability-focused organisations. It was designed by Dutch studio OMA as a "mini-city", with a series of stacked green-glazed blocks arranged around a road that runs through the site.

Find out more about BLOX on its website.

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Promotion: Thailand's Department of International Trade Promotion has announced Style Bangkok 2024 in March 2024, which will spotlight environmentally conscious products designed by Thai brands and craftspeople.

Style Bangkok 2024 will be held at the Queen Sirikit National Convention Center in Bangkok, Thailand, from 20 to 24 March, highlighting the output of established and emerging Thai designers.

Over 400 individual companies and craftspeople are set to display their products at the event, with items showcased from over 1,000 distinct booths.

The items on display include furniture, materials, homeware, art, tableware, accessories and kitchenware – all underpinned by sustainable design principles.

Among the exhibiting brands is Deesawat, a furniture brand specialising in outdoor furniture made from teak.

Also displaying its products is Hug Furniture, which designs and manufactures multifunctional and minimalistic pieces that are affordable and innovative.

Moonler – another Thai furniture design brand – is also showing its products at the event, which are made primarily from Chamchuri wood. Its furniture is designed with traditional crafts in mind, as well as a commitment to waste reduction.

Plinn is an accessory design brand specialising in leather bags made from unusual materials such as python and stingray skin. Its environmentally considered products will also be available to view at the event.

Another accessory taking part at Style Bangkok 2024 is the Royal Orchid Collection, which produces jewellery made from flowers. Their catalogue includes necklace pendants, rings, earrings, brooches and hair clips.

Also attending is 103Paper Shop – a homeware brand that has pioneered a new material called 'paper clay'. This material is fashioned into decorative objects including vases and planters.

Homeware brand Thaniya also presents its goods at the event, including candles that double as massage oils when melted.

Style Bangkok 2024's trade days take place between 20 and 22 March, with the event open to the public from 23 to 24 March 2024.

To read more about The Department of International Trade Promotion, visit its website.

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Promotion: design platform What Design Can Do has announced its Redesign Everything Challenge, calling designers to submit ideas that "radically redesign our world".

Redesign Everything Challenge is the fifth competition run in collaboration with the IKEA Foundation and invites international designers to present products, materials, systems or services that intend to tackle critical global issues such as climate change.

The competition is open from 17 January to 13 March 2024 and the winners will see their designs turned into reality and win €5,000 in funding.

The initiative emphasises the need for circular and regenerative solutions and aims to answer the question: what role can designers play in the transition to a fair and circular future?

What Design Can Do intends for the competition to prompt designers to use their "radical imaginations" and design creative solutions that tackle crises in food, fashion and packaging, construction, mobility, digital services or electronics.

"Redesigning everything is first and foremost a call to action," said What Design Can Do co-founder Richard van der Laken. "It's also an invitation to think laterally about how our world should be redesigned, in ways both big and small."

"Now, more than ever, there is an urgent need for inclusive and circular solutions, and for the transformative and disruptive power of design," he continued.

The competition is a bid to showcase how projects that humanity currently faces are interconnected, for example, biodiversity loss in the Amazon, the housing crisis in the Netherlands and plastic waste in Kenya.

What Design Can Do believes that the solutions to current issues "cut across various sectors and disciplines" and that designers have a critical window of opportunity to reduce carbon emissions.

"In the face of our planet's greatest challenges, design emerges as a powerful catalyst for change," said IKEA Foundation head of planet Liz McKeon. "The What Design Can Do design challenges that we supported have led to tangible impacts in climate action, health and wellbeing, and social justice all around the world."

"This demonstrates that designers can become the architects of solutions, building a bridge between imagination and impactful change, and have the transformative ability to shape a sustainable future," McKeon added.

In April 2024 a jury of experts in climate action, design and social impact will select 10 winners. In addition to winning €5,000 in funding and seeing their designs turned into reality, winners will receive online training and mentoring sessions with experts to strengthen their projects. Winners will also have the opportunity to speak at What Design Can Do events.

What Design Can Do was launched in 2011 and is an international platform that champions design as a tool for social change. The platform addresses pressing societal and environmental issues and has hosted 15 successful conferences in Amsterdam, São Paulo, and México City.

In 2016, it launched the design challenge programme that aims to connect the creative and design communities with urgent social issues such as climate change and refugees' wellbeing.

The IKEA Foundation is a strategic philanthropy dedicated to tackling poverty and climate change, which it says are the two biggest issues that affect children's futures. Since 2009, the foundation has granted more than €2 billion to improve quality of life while fighting climate change.

For more information and to participate in the Redesign Everything Challenge, visit WDCD's website.

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Promotion: the American Hardwood Export Council and design journal Disegno's podcast returns for a fourth season exploring the relationship between wood and the design industry.

Word on Woods podcast focuses on "unexpected and timely" topics, with each episode including an interview with a leading designer, architect, manufacturer or forestry expert.

The latest season will launch with an exploration of veneer, which the American Hardwood Export Council (AHEC) says is an overlooked timber product.

The premier will examine the material's potential and how contemporary designers are using it in "experimental and playful directions".

Speakers include designers Jorge Penadés and Rio Kobayashi, and Cathy Lynn Danzer, sustainability and compliance counsel at timber manufacturer Danzer.

"The episode explores the design potential of this thinly sliced material and how a new generation of practitioners are pushing it in experimental and playful directions," said AHEC.

The second episode focuses on what AHEC and Disegno believe architectural education lacks when it comes to curriculum on wood and timber. AHEC says that different wood species have varying properties and that architects must be provided with this information during their training.

The episode's speakers include educators Kenn Busch, Hanif Kara and Izaskun Chinchilla Moreno.

The fourth season will also include "Making Shorts", a series of shorter podcasts examining the various production techniques for designing and building with timber.

"These bite-sized episodes zoom into production techniques for timber, providing concise case studies through interviews with designers on the making processes behind specific projects," said AHEC.

The first Making Shorts podcast examines CNC milling and explains its connections to traditional hand carving. Speakers include designers Trent Jansen, Tanya Singer and Errol Evans ,who explain how they use high-tech milling machines to create a series of sculptural furniture "that tell stories about the climate crisis".

Making Shorts also includes designer Anna Maria Øfstedal Eng speaking about her process of creating furniture with a chainsaw, and designers Inma Bermudez and Moritz Krefter discussing working with waste timber.

Word on Woods was launched in 2021 in a bid to create an upfront dialogue between industries exploring all things wood-related. In 2022, the podcast won the Best Podcast award from Archiboo Awards.

"Venturing into the world's forests, sites of timber production, and design and architecture studios, the podcast examines how these industries intersect through material," said AHEC.

AHEC is an international hardwood trade association for North America, which champions "the performance, sustainability and aesthetic potential of American hardwoods worldwide". AHEC markets over 20 commercially available hardwood species across the globe.

Disegno is an international journal that produces long-form journalism focused on design. It produces two pieces biannually.

Word on Wood is available to listen to on Apple podcasts or Spotify.

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