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A grape-based leather alternative and sequins made from tree cellulose are among 15 material innovations on show as part of fashion house Stella McCartney’s exhibition at the COP28 climate conference.

In partnership with Stella McCartney‘s parent company LVMH, the Sustainable Market showcases “the possibilities of current cutting-edge or soon-to-be available technologies” that could transform the fashion industry.

The 15 chosen innovators range from start-ups to established brands, providing plant-based alternatives to plastic, animal leather and fur as well as regenerative alternatives to traditional fibres.

“The fashion industry accounts for eight per cent of global greenhouse gas emissions,” McCartney said. “We need to get creative and innovative with alternatives, moving beyond the limited materials that the industry has been working with traditionally.”

“If we can work collaboratively with these goals, we can actually begin doing business in a way that regenerates our planet instead of only taking from it.”

Bioplastic sequin dress — Among the featured products are iridescent BioSequins by Radiant Matter

Among the featured companies is Radiant Matter, which produces plastic-free iridescent BioSequins, and Mango Materials, which transforms captured methane emissions into plastic as seen in Allbirds’ Moonshot trainers.

US start-up Natural Fiber Welding is presenting its plant-based leather alternative Mirum, which has already been used across Stella McCartney’s Falabella and Frayme bags as well as a series of fragrance-infused jackets by MCQ.

The Sustainable Market also showcases examples of finished products including crochet dresses and bags by Stella McCartney that are made using seaweed-based Kelsun yarn and the first-ever garment crafted from biologically recycled polyester by US company Protein Evolution.

Another stall highlights Stella McCartney’s collaboration with Veuve Clicquot to develop a grape-based leather using waste from the champagne house’s harvest.

Bag made from kelp yarn — Seaweed-based Kelsun yarn forms crochet Stelle McCartney bags

The Sustainable Market also highlights three student projects from the Maison/0 incubator at design school Central Saint Martins, which is supported by LVMH.

Automating Violacein by Charlotte Werth explores how an automated microbial dye process can be used to produce printed patterns for luxury textiles.

Other projects examine how bacteria, algae and food waste could offer bio-based alternatives to synthetic dyes, and how lab-grown keratin fibres could be used for luxury clothing.

The products are displayed in market stalls featuring 3D-printed walls infused with a compound by Spanish materials company Pure Tech, which it claims can remove CO2 and volatile organic compounds (VOCs) from the air by converting them into harmless mineral particles.

Other brands invited to participate in the market include US company Brimstone, which claims to have created “the world’s first carbon-negative portland cement”, and Chargeurs Luxury Fibers, which produces wool using regenerative farming methods.

McCartney was asked to represent the fashion industry at COP28 to advocate for policy and regulatory change to incentivise sustainable business and the decarbonisation of the industry.

Mannequins wearing Stella McCartney garments at COP28 — Several Stella McCartney garments demonstrate the materials possible applications

Her delegation also seeks to promote human and animal welfare while building a coalition of global government and business leaders to scale investment in material innovations.

Recently named among Time magazine’s 100 most influential climate leaders, McCartney bills her eponymous brand as the world’s first luxury fashion house to never use animal leather, feathers, fur or skins.

Products by Nativa showcased at Stella McCartney's Sustainable Market — Chargeurs Luxury Fibers produces wool using regenerative farming methods.

The Sustainable Market concept was first launched as part of her Summer 2024 runway show during Paris Fashion Week and will continue to evolve over the coming year following COP28.

The exhibition is taking place at the climate conference until 12 December in Dubai, United Arab Emirates.

Last year’s Conference of the Parties (COP), which was held in Sharm El-Sheikh, Egypt, saw architect Norman Foster launch a set of sustainability principles for architects while a team of researchers developed an app that predicts damage to global cities from rising sea levels.

The event was described as “deeply depressing” by architect and engineer Smith Mordak in their opinion piece for Dezeen, with other architects and sustainability experts expressing frustration at the slow pace of global action to reduce carbon emissions.

The photography is courtesy of Stella McCartney.

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A series of steel chairs on podiums within a railway arch

Interior Design

Daisuke Yamamoto presents recycled steel chairs under Milan railway arch

By Zarkon Group,16/11/2023

Japanese designer Daisuke Yamamoto presented recycled steel chairs on podiums of the same material as part of an exhibition in Milan, which has been shortlisted for a 2023 Dezeen Award.

Yamamoto‘s Flow project explores ways to minimise industrial waste by focusing on a single material – light-gauge steel (LGS).

Commonly used in construction as a strong, lightweight framing option, LGS is also one of the industry’s largest waste products, Yamamoto claims, as it is rarely recycled after demolition.

The designer therefore chose to create a second life for the steel sheets and components as a series of sculptural chairs.

Light-gauge steel chairs on podiums made from the same material — The chairs were placed on podiums made from the same light-gauge steel

He also used LGS to form platforms for showcasing the seating designs as part of an exhibition at Milan design week 2023 that has been shortlisted in the exhibition design category of this year’s Dezeen Awards.

“This project began with the awareness that everyday recycled construction materials are disposed of, then new construction begins – a so-called ‘scrap and build’,” Yamamoto said.

Recycled steel chairs with different forms — Each of the recycled steel chairs had a different form

“Using the iconic LGS material – one of the most popular materials normally used in framing systems throughout the interior wall structure – we transformed it into beautifully redesigned furniture, giving the materials a second chance,” he added.

The exhibition formed part of the Dropcity showcase, which took place inside the Magazzini Raccordati spaces at Milan Central Station during the design week in April.

A workshop bench with a partially built chair on top — A workshop bench was also placed at the centre of the space

These empty railway arches have a dilapidated, industrial aesthetic with peeling floors, stained tilework and exposed utilities.

Yamamoto chose to leave the vaulted room largely as he found it but placed a series of platforms in two rows, upon which he presented the series of chairs.

Track lighting was installed overhead to spotlight the elevated designs, each of which has a slightly different shape.

In the centre of the exhibition, a workshop bench also built from lightweight gauge steel was used to fabricate more chairs during live demonstrations between Yamamoto and craft artist Takeo Masui.

Daisuke Yamamoto and Takeo Masui building a recycled steel chair — Yamamoto and Takeo Masui built more recycled steel chairs during live demonstrations

“This is a landfill, a place where a volume of used LGS is collected,” Yamamoto said. “A place where the designer and craftsmen work hand in hand to recreate what was bound to be disposed into something new, a process of disassembling to re-assemble.”

The intention was to not only showcase the material’s capabilities for reuse but also to allow visitors to engage with the process and ask wider questions about how society deals with waste.

Daisuke Yamamoto and Takeo Masui assembling a chair — The demonstrations allowed visitors to engage with the process

Using waste materials produced by other industries was a key trend that Dezeen spotted during this year’s Milan Design Week, with designers and studios including Formafantasma, Prowl Studio, Atelier Luma and Subin Seol all looking to reduce the environmental impact of their products.

The photography is by Takumi Ota.

Future Landfill took place at Magazzini Raccordati from 15 to 23 April 2023 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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Interior Design

Chair of Virtue presents experimental seating at London Design Festival

By Zarkon Group,26/09/2023

Digitally shrink-wrapped skin, armrests salvaged from parks and “frozen” resin featured in Prototype/In Process, an exhibition of seating presented by virtual magazine Chair of Virtue during London Design Festival.

Displayed under a railway arch at Borough Yards, Prototype/In Process was made up of 1:1 scale prototypes of chairs, as well as chairs that are still works in progress, by 12 London-based designers who are either established or emerging in their field.

Sara Afonso Sternberg presented sculptural aluminium seating made of armrests salvaged from the middle of public benches in Camberwell. The armrests were originally created to make it difficult for homeless people to sleep or rest on the benches.

“These objects are given a new form and use, inviting the public to critically engage with control mechanisms such as hostile architecture that permeate the urban landscape,” said Afonso Sternberg.

"Frozen" resin seating in Chair of Virtue exhibition — Jesse Butterfield created a “frozen” resin piece

Another piece on display was by Jesse Butterfield. The designer used vacuum infusion, draping and papier-mâché to create a chair covered in resin that was intended to appear “frozen”.

Various methods of production were showcasedthroughout the show. Daniel Widrig used 3D printing to digitally shrink-wrap a rectangular chair with polylactic acid, a starch-based bioplastic.

3D-printed chair by Daniel Widrig — Daniel Widrig used 3D printing for his piece

The result is a grey-hued chair with an undulating form, which mirrors the shared style of previous blobby stools created by the designer.

“Its contours mimic the gentle curves and natural irregularities of body tissue, forming intricate folds and wrinkles,” explained Widrig.

Thomas Wheller also used aluminium by folding a single piece of the material to create his chair, while Louis Gibson experimented with “regular” construction stock materials by creating casts from disused pipes.

“I was interested in imagining how these parts could be used unconventionally,” said the designer.

Folded aluminium chair by Thomas Wheller — Thomas Wheller also worked with aluminium

“With such large volumes, I was curious to create casts, and then evaluate the internal forms in a new light, and finally address the problem of reassembly,” added Gibson.

“I chose plaster for the purpose of quick setting, I also felt it was in keeping with the world of builders’ merchants stock supplies.”

Chair by Louis Gibson — Louis Gibson experimented with salvaged construction materials

While the exhibition concluded at the end of London Design Festival (LDF), Chair of Virtue is an ongoing project curated by Adam Maryniak.

Prototype/In Process was on display on Dirty Lane as part of the annual festival’s Bankside Design District.

Furniture created from the remains of a single car and a modular display system by Zaha Hadid Design were among the many other projects featured during LDF.

The photography is courtesy of Chair of Virtue.

Prototype/In Process was on show as part of London Design Festival 2023 from 16 to 24 September 2023. See our London Design Festival 2023 guide on Dezeen Events Guide for information about the many other exhibitions, installations and talks that took place throughout the week.

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Interior Design

Frederik Molenschot presents sculptures at Carpenters Workshop Gallery

By Zarkon Group,15/09/2023

Sculptures crafted from recycled BMW airbags and oak railway sleepers feature in artist Frederik Molenschot’s Atlas 2000 exhibition, which is on display at Carpenters Workshop Gallery in Paris.

Marking the Dutch artist’s first solo exhibition, Atlas 2000 features hand-sculpted works that are directly influenced by natural landscapes, Molenschot said.

The show’s title refers to the visual diary the artist has created since his studies at Design Academy Eindhoven in 2000.

Spread across the minimalist ground floor at the Paris branch of Carpenters Workshop Gallery, the sculptures were crafted from various materials and range from functional to abstract.

Buoy Airbag is an amorphous, pale blue-hued hanging sculpture created from recycled airbags sourced from BMW vehicles.

Sculptures at Carpenters Workshop Gallery — Frederik Molenschot’s debut solo show is on display at Carpenters Workshop Gallery

“The piece delves into the intricate connection between cargo transport and climate change, with recycled airbags symbolising a melting arctic ice rock floating in the sea,” the artist told Dezeen.

“I want to explore how luxury materials are used and how they become what they are,” he added. “[So] I processed the used airbags in a ‘couture’ way, to get a very high-quality finish.”

Molenschot also designed Gingerblimp, a bulbous bronze LED light sculpture characterised by a silver patina and a gold-brushed interior.

The artist explained that the sculpture is a playful take on ginger root from the natural world and also nods to the manmade blimps that form part of New York City’s annual Thanksgiving Day Parade.

Furniture made from recycled oak — Recycled oak railway sleepers were salvaged to create furniture

Recycled oak railway sleepers were salvaged to create a chunky dining table and chair, which were named Bridge Beat to “pay homage to the captivating structure of bridges”.

Also part of this series is a black bronze desk and chairs formed from gridded lines arranged in triangular formations.

“Each material was selected purposefully, offering unique properties and textures that complement the conceptual aspects of the artworks,” explained Molenschot.

“Every piece is hand-sculpted in our studio.”

Oversized clothing and bronze furniture by Frederik Molenschot — Molenschot also created oversized clothing

According to Molenschot, the pieces’ forms vary as much as their material palettes. In one corner of the gallery, a bobbly bronze glove was positioned underneath a branch-shaped textured lamp while oversized clothing also features in the exhibition.

“This solo show holds a special place in my heart, as it represents my entire artistic journey since my time at the Academy,” reflected Molenschot.

“It’s an invitation to explore my vision of our world. My ‘atlas’ is a compendium of research, pictures, designs, and sketches that have shaped me as an artist.”

Sculptures in Carpenters Workshop Gallery — The exhibition runs until mid-September

Known for his large-scale bronze sculptures, Molenschot has been represented by Carpenters Workshop Gallery since 2008. The galley, which also has locations in London and the US, previously exhibited an all-denim furniture show by designer Harry Nuriev.

The late fashion designer Karl Lagerfeld also debuted his first sculpture exhibition at the Paris branch.

Atlas 2000 is on display at Carpenters Workshop Gallery from 1 June to 16 September 2023. See Dezeen Events Guide for an up-to-date list of architecture and design events taking place around the world.

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A photograph of someone looking at the Ginza Ecological Map

Interior Design

Ginza Ecological Map by Hakuten presents the “hidden story of Ginza”

By Zarkon Group,08/11/2022

Design studio Hakuten has created a three-dimensional map of Ginza, Tokyo, that presents the ecology that exists in the district.

The Ginza Ecological Map, which was featured in the Japanese makeup brand Shiseido‘s Hakuten’s window, was designed to “carefully express the impression of the location and the history of the city, with a hidden story of Ginza”.

It spotlighted the natural elements found throughout the district, including samples of trees, plants, insects and earth, with the intention of enhancing the local community’s knowledge of its district’s ecology. Each item was presented in one of 72 windows – similarly to how scientific specimens are exhibited in museums.

The exhibition ran throughout 2021 and across two themes: Organisms, which presented insects and cuttings from plants, and Earth – showcasing the diversity of soils found throughout the district.

The Glothistle arranged in a clock-like motif — Parts of the glothistle plant were arranged in a clock-like motif to represent the district’s Wako clock tower

“We carefully displayed this ecology in the window as if they were scientific specimens,” said Hakuten.

“The exhibition ran throughout the year across two different ecological themes – Organisms and Earth – and brought to light a new and beautiful Ginza that had not been seen before in the form of the Ginza Ecology Map.”

Ginkgo biloba trees printed with images of the district — Ginkgo biloba trees were planted in Ginza in 1906

The materials were collected during a number of fieldwork studies in addition to the knowledge gained from speaking to people local to Ginza. Once collected, the items were exhibited in creative ways with the aim of becoming a tool to communicate the connection between Ginza’s natural world and society.

For example, the plant named glothistle was collected from under the city’s Wako clock tower, and as part of the exhibition was displayed in a clock-like motif to represent it.

In addition, the district’s ginkgo biloba trees were planted in 1906, and according to the designers, they represent a “turning point for modernisation in the city”.

As a nod to the tree’s heritage in the district, images of Ginza’s buildings were printed onto the collected ginkgo tree leaves as part of the exhibition.

A number of specimens curated in 72 windows — The exhibition showcased a number of plants and insects

“Unlike most window displays that show objects and installations that only suit its occasion, not only did Ginza Ecological Map provide a new perspective of Ginza city, but through research from local residents it also expanded into a communication tool between the city and the people,” said Hakuten.

“By looking at the usually unseen ecology that exists in a metropolis, we were able to rethink the relationship between the city, people, and nature in an attempt to approach a more sustainable society.”

Samples of earth displayed one of the windows — Earth was collected as part of the exhibition

As part of the Earth theme, the colour of the soil across the district was documented, including samples collected from sidewalk ditches and from around various plants such as dogwood and camellia.

The exhibition also shed light on creating a number of creative resources from the city’s soil – including pottery and crayons – and clothing dyed using local plant’s pigments.

Shiseido's Hakuten's window displaying the map — The map featured in the Japanese brand Shiseido’s window

According to the studio, the pandemic provided the opportunity to reflect on the human-nature relationship as Ginza was “emptied” because of the pandemic.

The project was conceived of this change, and aimed to rethink the district’s approach towards creating a society more mindful of enhancing and protecting its nature.

Samples of materials dyed from local plant pigments — The exhibition also presented the ways in which local plant pigments can be used as textile dye

“In Covid-19 where we were provided with more opportunities to deeply reflect upon the global environment, this project allowed us to rethink the relationship between the city, people, and nature in an attempt to approach a more sustainable society,” said Hakuten.

Ginza Ecological Map has been shortlisted in the exhibition design category at this year’s Dezeen Awards alongside, Weird Sensation Feels Good – The World of ASMR, Greenwood Rising: Black Wall Street History Center exhibition and Journey of the Pioneers.

Reference

Exterior of Shoreditch Fire Station with bright red shutters

Interior Design

London Fire Brigade presents exhibition of artwork to “celebrate bravery”

By Zarkon Group,30/09/2022

The London Fire Brigade has unveiled its updated typeface designed by Studio Sutherl& and The Foundry Types at the Running Towards exhibition of graphic artworks informed by the organisation’s design heritage.

The Running Towards exhibition took place at the Shoreditch Fire Station during the London Design Festival, with visitors entering through the building’s big red shutters into a display of artworks created by UK designers.

The new Fire Brigade Sans typeface, created by Studio Sutherl& and The Foundry Types, was displayed on the exterior of Shoreditch Fire Station.

Its design was informed by the lettering of old fire engines and on the facade, the typeface was printed in the red, yellow and gold colours synonymous with fire engines.

Black and white poster that reads 'Nee Naw Nee Naw' — Studio Sutherl& designed London Fire Brigade’s new typeface

To celebrate the typeface, London Fire Brigade collaborated with communications agency KesselsKramer, writer Thomas Sharp, Studio Sutherl& and carpet manufacturer Brintons on the exhibition, which saw designers create their own interpretations of the organisation’s design heritage.

Among the pieces on show were graphic interpretations of the Danger Risk of Fire safety sign, a bespoke carpet with a pattern informed by the universal fire exit sign and firefighting objects and items from Shoreditch Fire Station’s own collection.

Red poster with London Fire Brigade's new typeface in gold lettering — London Fire Brigade’s typeface Fire Brigade Sans was featured on posters

KesselsKramer described the showcase as “a celebration of London Fire Brigade’s bravery, aiming to inspire that very same spirit within ourselves.”

The studio invited 25 London-based designers to recreate the fire safety symbol for their display, titled Warning: Risk of Fire.

“It felt appropriate that for London Fire Brigade’s inaugural Design Festival exhibition, a piece of graphic design synonymous with the fire service became the focus,” said KesselsKramer.

Black cat illustrated on a blue triangle with a lit match — Franz Lang’s design tells the story of her grandma’s cat

Presented on triangular signs, each artwork was designed to tell a story of firefighting bravery. Graphic artist Jimmy Turrell‘s interpretation was dedicated to his father who was a firefighter.

Illustrator Franz Lang‘s entry represented the story of her grandma’s cat, who was rescued from a tree by the fire brigade.

“This is such an iconic location for an art show,” said Lauren Coutts, art director at KesselsKramer. “To get a rare glimpse into a fire station is very exciting in itself so to then be able to celebrate bravery here, in so many forms, feels very special.”

Brintons created a bespoke wool carpet for The Running Towards exhibition, which features a pattern informed by the universal fire exit symbol.

Rug hanging from the beams at Shoreditch Fire Station — Brintons designed a carpet to display at The Running Towards exhibition

Burgundy and navy chevrons repeat along the length of the carpet with arrows and stick figures that reference the fire exit sign. According to Brintons, the carpet is made from wool to exemplify the material’s naturally fire-retardant properties.

“As a material, wool contains a higher water and nitrogen content than other man-made fibres making it a naturally fire-retardant material,” said Brintons.

“Another benefit is that it does not emit smoke or fumes, often one of the main causes of serious health issues following a fire.”

Yellow and red poster with the text 'fight flight' — The exhibition showcased graphic posters in a colour palette that references fire engines

Other exhibitions that took place during London Design Festival include a collection of wooden objects made from a dying ash tree and a sculptural stone installation that references Stonehenge.

The photography is courtesy of the London Fire Brigade.

The Running Towards took place between 20 and 24 September as part of London Design Festival. See Dezeen Events Guide for an up-to-date list of architecture and design events taking place around the world.

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Interior Design

At The Rose House presents design at home of famed landscape architect

By Zarkon Group,28/09/2022

An exhibition of hand-crafted art and design pieces, including a seminal sculpture by Charles and Ray Eames, is on display at the former New Jersey home of 20th-century landscape architect James Rose.

At the Rose House is on show at the Ridgewood home that the late American modernist landscape architect designed and hand-built for himself and his family in 1953 and lived in for almost 40 years.

Organised by curatorial platform Object & Thing and furniture and interior design studio Green River Project LLC, the exhibition stemmed from Rose’s appreciation for craft and materials.

The show “emphasises the hand-made, beauty in nature and a sense of timelessness” according to the curators.

Living room of James Rose's Ridgewood home — Rose self-designed and hand-built the house, which features several Japanese design elements

Green River Project LLC founders Aaron Aujla and Benjamin Bloomstein, who have admired the landscape architect for some time, have produced a series of new designs based on his work.

Created in collaboration with a group of designers, these pieces include a side chair by both Bloomstein Industrial and Luck Carpentry, rice paper lamps from Preziosi Lighting and carved grooming items on shelves in the bathroom by Teague’s Path.

Ceramic pots displayed on wooden shelves — Artworks and designs were selected to reflect Rose’s appreciation for craft and materials

“The ease in which Rose expanded the home using ready-made materials was an early point of reference for our practice,” said Aujla.

“In particular, there is a kitchen with mahogany shelves and pegboard that we must have spent over 100 hours dissecting and referring back to over the last five years.”

Green River Project’s products are presented alongside the work of mid-century and contemporary designers, including Alvaro Barrington, Bode, Charles and Ray Eames, Louis Eisner, Hugh Hayden, Nancy Holt, Kiva Motnyk, Michele Oka Doner, Johnny Ortiz-Concha and Anne Truitt among others.

Clothing by Bose hung around the house — Clothing based on Rose’s personal style is hung in closets

The works are installed as if they belong in the rooms and garden, which – like many of Rose’s later projects – feature elements of Japanese design, including the exposed timber structure and shoji screens.

“[Rose] spent considerable amounts of time in Japan and became a Zen Buddhist,” said the curators. “This influence is evident in the Ridgewood house, especially on the upper floor, which contains a room for his daily mediation practice that The James Rose Center is currently restoring.”

Eames Plywood Sculpture — An edition of the 1943 Plywood Sculpture by Charles and Ray Eames is being presented in the US for the first time. Photo by Michael Biondo

Pieces on display include the Eames’ seminal 1943 Plywood Sculpture – the first time that this edition, which was made and released by Eames Office, is being presented in the US.

Among the designs created for the showcase are leather Adirondack chairs by Hugh Hayden, wood-fired micaceous pots by Johnny Ortiz-Concha and naturally-dyed framed textile works by Kiva Motnyk.

A selection of clothing by New York brand Bode, based on Rose’s “eccentric” personal style, is hung in the closets throughout the house.

Landscape paintings, rice paper drawings, flower vases, terracotta sculptures, and a screening of Nancy Holt’s 1975 film Pine Barrens that “portrays the New Jersey wilderness” also feature.

Exterior of James Rose house — The house in Ridgewood, New Jersey, is preserved by The James Rose Center. Photo by Michael Biondo

Green River Project LLC is also producing new editions of one of Rose’s lanterns to coincide with this exhibition.

These will be sold to benefit The James Rose Center – a non-profit landscape research and study foundation, which is based at the house and has preserved Rose’s legacy since his death in 1991.

“Rose was an impossible maverick, called by one author, ‘The James Dean of Landscape Architecture,’ but I think he would be very happy with the vision Green River Project LLC and Object & Thing have brought to his house,” said foundation director Dean Cardasis.

At the Rose House runs until 2 October 2022. This is the latest in a series of exhibitions organised by Object & Thing within the homes of notable 20th-century artists and architects, following presentations at the houses of Gerald Luss, Robert Dash and Eliot Noyes.

Other exhibitions that showcase the work of modernist designers include an exhibition of Le Corbusier’s tapestries in Manhattan.

See our Dezeen Events Guide for information about other exhibitions, installations and talks.

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Interior Design

Hang Lung Properties presents 23-39 Blue Pool Road

By Zarkon Group,18/06/2021

Dezeen Promotion: developer Hang Lung Properties has unveiled the 23–39 Blue Pool Road development designed by architecture studio, Kohn Pedersen Fox, to “offer a unique lifestyle that combines urban buzz with residential comfort”.

The site includes 18 semi-detached three-storey residences that are each equipped with a private rooftop, courtyard, five en-suite bedrooms, balconies and a garage.

According to Hang Lung Properties, “The crown jewel of the development is undoubtedly House 31”.

House 31 totals 850 square metres and is made up of two adjacent semi-detached houses with interiors designed by international studio Hirsch Bedner and Associates (HBA).

“From the very early stages of the design, we agreed that this was a great opportunity to create a timeless, modern yet opulent and comfortable interior,” said HBA Hong Kong associate director Paulo Dias.

“And who were the clients they imagined this one-of-a-kind home for? A well-travelled, cosmopolitan couple, avid art collectors and patrons.”

The house’s ground floor includes an Italian Boffi kitchen, courtyard and island bar for entertaining, while its landscaped rooftop garden features a barbecue and bar.

House 31’s master-chamber floor is designed for privacy and includes a master suite and second suite, both equipped with walk-in wardrobes. The residence also has a wellness and spa quarter, study, games room and theatre. The interiors of the home incorporate Italian and local Hong Kong-made fabrics.

Dias and his team chose furnishings to create “different layers that add interest and enhance the overall level of luxury,” according to the brand.

“HBA is known for developing bespoke finishes that make each project one of a kind,” said the developer.

“Unique touches include custom-dyed wood veneers, unique glass and lacquer finishes and custom-designed carpeting,” it continued.

“Other exclusive materials include exotic marbles, like South African gemstone tiger’s eye for the bar and cow horn in one of the millwork units.”

The artwork across the home was curated by the in-house HBA team, sourced from private collectors and galleries worldwide. The living room includes works by Andy Warhol, Kazuo Shiraga and DanHôo in a “bold salon-style display”.

“Elsewhere in the home are works by the likes of Damien Hirst, Lai Chi Man and Elsa Jean de Dieu,” said the developer.

“The result is a living experience that is about “simplicity, elegant detailing and beautiful bespoke finishes, accentuated by unique art,” Dias said.

“The overall impression is one of drama and luxury, but that is still welcoming.”

For more information about 23-39 Blue Pool Road and House 31, visit the development’s website.

Partnership content

This article was written by Dezeen for Hang Lung Properties as part of a partnership. Find out more about Dezeen partnership content here.

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Interior Design

Made in Brunel; Above the Fold presents one hundred design solutions

By Zarkon Group,14/06/2021

Dezeen Promotion: Made in Brunel: Above the Fold is an exhibition by Brunel University design graduates taking place at The Bargehouse Gallery and Oxo Tower Gallery in London from 17 to 20 June 2021.

The exhibition presents 100 design solutions to everyday problems, including an app designed to help people with diabetes control their glucose levels, a personalised asthma management system and a tool to diagnose seasonal affective disorder (SAD).

Other projects include a mindful app made to help people living with rosacea and a system to manage medication that was designed for complex medical regimes.

“Brunel designers are well versed in turning problems on their heads to develop effective solutions,” said the organisers.

“However, this year, students have taken these problem-solving skills one step further – discovering how to conduct remote user testing when face-to-face testing was impossible and mastering the poly-jet printers when indoor workshops were inaccessible, were just a few of the adaptations to the design process introduced in 2021.”

As part of the final year programme, the students launched the brand Above the Fold, for which they created a podcast and blog to share “essential” design-related content.

“Above the Fold stems from the newspaper terminology denoting that the information on the top of a broadsheet newspaper front page is always visible when folded,” said the organisers.

“These events and initiatives have all been exciting ways to inspire and connect Brunel designers with each other, alumni and industry experts.”

For their final year projects – and as part of Above the Fold – students chose their design briefs, or applied for briefs provided by external sources including the National Health Service and a range of private companies.

By being “immersed” in a range of real-life challenges, the projects aimed to enable students to develop problem-solving solutions.

Students also studied six design modules that supported the research and development activities of their final projects. The Human Factors module required students to develop a solution to a problem using human-centred design principles.

“Solutions ranged from quieting noisy popcorn eaters in cinemas to reducing self-contamination during the removal of PPE in intensive care units,” said the university.

Students who chose the Environmentally Sensitive Design module dismantled a product, conducted a life-cycle analysis on it, then redesigned it using eco-design strategies.

The lifecycle analysis of the redesign “revealed reductions in carbon emissions and energy consumption in production,” according to the organisers.

In a third module, called Design and Innovation Management Processes, students designed a business model for their products and services.

“Specifying target markets and creative ways to reach them helped students understand the next steps in commercialising a product,” said the university.

Students who chose the Computer-based Design Methods module were asked to “surface model a car of their choice, test its safety in Siemens Jack software and optimise the design through analysis in ANSYS“, according to the university.

For the Contextual Design module, students developed a product to solve real-world issues that might be prevalent in 10–15 years. In the Embedded Systems module, they developed projects “which used sensors and hardware components to carry out a function based on their studies of CCS C code, schematic layouts and printed circuit board design,” according to the university.

According to the organisers, the exhibition will showcase students’ response to these themes and offer an “opportunity to experience the incredible work their designers have created, fostering the next generation of innovative thinkers”.

“Something to look forward to will be the chorus of conversations throughout the gallery – we’re far too used to the silence of virtual meetings where only one person can be heard at a time,” said the organisers.

Tickets to Made in Brunel: Above the Fold are free and can be accessed on Eventbrite.

Industry members can also sign up here.

For more information visit the exhibition’s website.

Partnership content

This article was written by Dezeen for the Brunel University as part of a partnership. Find out more about Dezeen partnership content here.

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Michael Young x Dezeen cafe and bar at Design Shanghai

Interior Design

Dezeen presents cafe bar designed by Michael Young at Design Shanghai

By Zarkon Group,13/06/2021

Dezeen has partnered with Design Shanghai to present a cafe and bar designed by Michael Young at the 2021 edition of the trade show, which opened in Shanghai this week.

The cafe and bar is located at booth K207 in Hall 2 at Design Shanghai 2021, which takes place at the Shanghai World Expo Exhibition and Convention Center in Shanghai, China, until 6 June.

The space features grey corrugated walls with splashes of colour and is furnished with previews of furniture pieces designed by Young that will be launched later in the year.

According to Young, the concept for the space is loosely based on a bar he created last year at his office in Shekou, Shenzhen.

“I ended up with an opportunity to create a bar last year beneath our studio but with only a few weeks to build the concept I decided to throw in anything I could get hold of – samples, prototypes and things from the studio that we have collected from around the world,” the Hong Kong-based British designer told Dezeen.

“I basically scavenged the studio together like a magpie so it became a real beer shack and a place that was not designed but created organically.”

The bar has grey walls — The bar features ribbed walls with splashes of colour and pattern

Citta Design has contributed pieces of Young’s new Acre Chair for the New Zealand brand, which will be launched in Auckland in September. The space is also furnished with new editions of Young’s Stool 4a for EOQ Design, which will be launched in December.

The bar is being used to launch Young’s new drinks brand Beer Buddy, which developed a new pilsner called House for the event.

The beer brand is specifically designed to connect creatives at events, trade shows and gatherings around Asia. Drinkers can scan a QR code on the beer packaging to connect with other creatives attending the event.

It is serving Beer Buddy — Young is launching his new Beer Buddy drinks brand at the bar

The dark grey exterior walls of the space are decorated with swirling patterns based on the graphics on the Beer Buddy cans and bottles.

Colourful versions of this pattern have been used to add splashes of colour to the interior walls and enclose private seating areas.

The space is co-branded with Young’s studio logo and the Chinese version of Dezeen’s logo. The walls also feature the QR code for people to follow Dezeen’s official WeChat account, which features news and features about the latest architecture, design and interiors written in Simplified Chinese.

Dezeen is a media partner for Design Shanghai 2021.

The show presents over 400 local and international brands across eight different sections alongside a programme of installations, exhibitions and the return of its annual talks programme, which this year explores the topic of regenerative design.

Design Shanghai takes place from 3 to 6 June at the Shanghai World Expo Exhibition and Convention Center. See Dezeen Events Guide for an up-to-date list of architecture and design events taking place around the world.

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Dezeen presents cafe bar designed by Michael Young at Design Shanghai

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