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07 lipca 2016
wszystkie artykuły z działu >> INSTALLATION

London Design Festival: Przegląd Instalacji z lat 2009-2015

Najlepsi projektanci motywują, prowokują i odkrywają…

London Design Festival to coroczna impreza promująca Londyn jako stolicę projektową świata. Przez 9 dni w roku prezentuje się tutaj cały wzorniczy świat. Kolejna edycja Festiwalu odbędzie się w dniach 17-25 września 2016. Już po raz siódmy - w 2016 roku - London Design Festival będzie kontynuował swoją unikalną współpracę z wiodącym na świecie muzeum sztuki i designu V&A museum, która będzie obejmowała: instalacje, wydarzenia, wykłady i warsztaty.



"The London Design Festival is a vibrant think tank which annually presents some of the most interesting contemporary work being created in the world. As an organization that aims to inspire creativity in everyone, the V&A is proud to partner once again with the Festival. During the 9-day period visitors are able to see a series of exciting and beautiful installations interacting with our world-renowned collections and historic spaces, take part in innovative design workshops and hear from the best international designers working today to motivate, provoke and discover new creative ideas." -
Dr. Martin Roth, Director of the V&A

Podczas London Design Festival 2016 planowane są kolejne wydarzenia w Victoria and Albert Museum (V&A).

Tymczasem przypominamy Instalacje, które zostały zrealizowane w V&A museum podczas sześciu minionych edycji London Design Festival w latach 2009-2015.

Candela by Felix de Pass, Ian McIntyre, Michael Montgomery, 2014


[EN] The multi-disciplinary team comprising of product designer Felix de Pass, graphic designer Michael Montgomery and ceramicist Ian McIntyre present an immersive installation within one of the V&A’s darkest spaces...

A large rotary machine sits centrally, hovering just off the gallery floor. As the face of the machine revolves, it passes through a light source charging its surface, which emits this energy as afterglow. The continual revolution of the machine creates a perpetual ebb and flow of light patterns travelling across the structure. This rich layering effect plays with the memory of the phosphorescent material used on the dials of timepieces by supporters Officine Panerai. “On a very basic level, we experience time through changing light conditions between day and night,” the designers explain. “The appearance of phosphor-escent material is determined by both light and time. Charging from a source of light, its afterglow appears dazzling at first, but diminishes to a lambent glow over time. We are excited to explore this change in state in our installation.”

The title of the installation, Candela, comes from the standard unit of luminous intensity: a common candle emits light with a luminous intensity of roughly one candela. Drawing from the individual expertise of the three designers, the installation is graphical in its visual impact, delicately engineered and crafted using both traditional and cutting edge materials. The result is a seemingly magical display that bewilders and delights the viewer, before leaving them to emerge, blinking and beguiled, into the daylight.

Mise-en-abyme by Laetitia de Allegri and Matteo Fogale with Johnson Tiles, 2015


[EN] Designers Laetitia de Allegri and Matteo Fogale collaborated with Johnson Tiles to create Mise-en-abyme, a colourful and immersive installation for the bridge over the Medieval and Renaissance galleries in the V&A.

Fascinated by the discovery of one-point perspective during the Renaissance period, the duo created a landscape of overlapping semi-transparent shapes that played with the viewers sense of perspective. The title of the work is a French term that literally translates as “placed into abyss”, and refers to the experience of walking through the installation.

The grout lines of the tiles lining the bridge represented the perspective grid lines found on Renaissance drawings, creating an illusion of exaggerated depth that drew the viewer into the work. Each tile featured a custom pattern of gradating colour that made the landscape across the bridge appear to open outward or to close inward, depending on the visitor’s point of view.

Contrasting with the pale interiors of the surrounding galleries and the creamy marble sculptures within them, the designers created an explosion of coloured acrylic panels layered across the length of the bridge. These bright semi-transparent panels also referenced the V&A’s colourful glass and stained glass collections displayed in nearby galleries. As visitors moved across the bridge, they passed through increasingly small openings in these panels, a literal interpretation of perspective translated to three-dimensional space that offered an immersive experience.

The Cloackroom by FayeToogood, 2015


[EN] Visitors to the V&A during the London Design Festival were transformed into temporary custodians via Faye Toogood’s two-part installation, The Cloakroom.

The first part of the experience was a literal cloakroom, located in Room 55, where visitors were invited to check out one of 150 Toogood coats to wear around the Museum. Each coat was equipped with a sewn-in map that guided the visitor through the second part of the installation: ten places in the Museum galleries, where they discovered a series of sculptural garments created by Toogood in response to nearby objects from the Museum’s collection – from a 15th century timber-panelled room to a shining suit of armour.

The 150 navigational coats were based on the voluminous Oil Rigger coat, one of the first coats designed for the Toogood brand, which the designer runs with her pattern-cutter sister, Erica. The coats were made from Highfield by Kvadrat, a high-tech compressed-foam textile and each has been hand-treated to render it unique. The sculptural garments visitors discovered during their journey were constructed from non-traditional fashion materials, including wood, fibreglass and metal, bridging the worlds of furniture design and fashion with which Toogood is engaged.

The Ogham Wall by Grafton Architects with Irish Design, 2015


[EN] London Design Festival joined forces with Irish Design 2015 to commission a major installation for the V&A’s Tapestry Gallery, as part of a year-long programme celebrating Ireland’s creative talent.

The project brought together Stirling Prize-nominee Grafton Architects and concrete experts Graphic Relief to create a large-scale installation in response to the theme put forward by ID2015: ‘Liminal – Irish design at the threshold.’

“The V&A’s Tapestry Gallery is an oasis within a dynamic institution,” said Shelley McNamara of Grafton Architects. “In this context, and in response to the theme for ID2015, we wanted to create something with an architectural presence that doesn’t establish a boundary.”

Inspired by the Irish Ogham alphabet, which dates from around the 4th century, The Ogham Wall interpreted letters from this ancient language as an architectural construct of three-metre-high cast concrete ‘fins’. A central linear element brought order to the installation, with an arrangement of smaller perpendicular and angled fins projecting off it to create an abstract rendering of each letter.

“The Ogham script looks very architectural – like the plan for a colonnade – and we were interested in exploring that idea and translating this series of letters into architectural elements,” said Grafton Architects.

Graphic Relief crafted the 23 fins from rough concrete combined with metal details. The surface of each fin was then polished to a smooth finish in some parts, contrasting with slight material imperfections in others that are an intentional by-product of the experimental casting process

Wind Tunnel by Najla El Zein, 2013


Jedną z ciekwaszych instalacji zrealizowanych w V&A był „The Wind Portal” zaprojektowany przez Najla El Zein podczas London Design Festival 2013. 8-śmio metrowa brama składa się z 5000 papierowych wiatraków podwieszonych do plastikowych rurek za pomocą, stworzonych metodą wydruku 3D, klipsów. Poprzez otwory w rurkach wypuszczane jest powietrze, które wprawia w ruch poszczególne śmigła. Zamysłem libańskiej projektantki było ukazanie relacji między dwiema przestrzeniami – wnętrzem i tym, co jest na zewnątrz oraz wskazanie, że łącznikiem między tymi odrębnymi światami są goście odwiedzający muzeum. Przechodząc przez zawieszone wiatraki wprawiaja je w ruch – co ma symbolizować przekazywanie zewnętrznego świata – emocji i myśli - do wnetrza.

Specjalnie dedykowany program komputerowy autorstwa Maurice Asso z Hilights kontroluje tłoczenie powietrza w poszczególnych partiach instalacji wprawiając wiatraczki w nieustanny i nieregularny ruch podczas gdy światła zawieszone nad portalem wibrują jakby napędzane były przez łapany przez skrzydła wiatraków wiatr. Goście V&A zaproszeni są do zabawy z instalacją. Każdy może poprzez dmuchnięcie tchnąć w wiatraczki pierwiastek życia.

Mimicry Chairs by Nendo, 2012

[EN] It’s not everyday that a designer is given the opportunity to create a contemporary installation amid the splendour of the V&A Museum, which is already home to over four million items of historical and contemporary art and design. In 2012, the invitation was extended to Nendo, a Japanese studio that has emerged as one of the most dynamic design groups of the last decade. “Now is the moment to commission Nendo,” - declares Ben Evans, Director of London Design Festival - “The breadth and quality of their work is outstanding and they’re the new stars of design. It is why we have positioned them as a key project in our residency at the V&A this year.” Nendo’s project was titled Mimicry Chairs and comprised a series of elegant chair installations appearing in varying locations throughout the Museum. Working in contrast to the often ornate museum surrounding, the studio created a simple chair archetype made from pressed and punched metal which was finished in white to give it an ethereal, almost ghost-like appearance.

„Curiosity Cloud” Mischer'Traxler Studio x Perrier-Jouët, 2015 

Jednym z ciekwszych wydarzeń zrealizowanych w V&A museum podczas London Design Festival 2015 była instalacja „Curiosity Cloud” zaprojektowana przez wiedeńskie Mischer'Traxler Studio - Katharina Mischer (1982) and Thomas Traxler (1981) - dla marki Perrier-Jouët. Motyle i ćmy - reagujące na ruch zwiedzających! 25 ręcznie wykonananych owadów umieszczone w 264 dmuchanych szklanych balonach zostały podwieszone do sufitu Norfolk House music room w V&A museum. Specjalne czujniki ruchu zapalały światła gdy odwiedzający spacerowali między żarówkami. Ale to nie wszystko - owady wydawały dźwięki. Motyle i ćmy dotykając szkła wytwarzały kakofonie dźwięków. Wszędzie było słychać szum, który robiły sztuczne robaki wewnątrz szklanych balonów. Odgłosy brzeczenia słychać było aż poza pomieszczeniem, kusząc gości wewnątrz pozłacanej sali.

28.280 by Omer Arbel with Bocci, 2013

Kanadyjska marka Bocci specjalizująca się w oświetleniu design podczas London Design Festival 2013 zaprezentowała w holu głównym londyńskiego Victoria and Albert Museum gigantyczną instalację świetlną pod nazwą '28.280'. Instalacja składa się z 280 kul z 28 serii ręcznie wydmuchiwanych form, z których każda ma źródło światła. Całość zaprojektowana została przez znanego architekta Omera Arbela, który od roku 2005 jest dyrektorem kreatywnego firmy Bocci.

Żyrandol liczący ponad 30 metrów wysokości podwieszony pod sufitem podkreśla unikalną, otwartą przestrzeń halu budynku. 28.280' to do dnia dzisiejszego najbardziej ambitny projekt wykorzystujący ręcznie tworzone szklane formy do aranżacji przestrzeni. Kolorowe kule stanowiące klosze zostały wytworzone w specjalnie opracowanym przez Arbela i firmę Bocci procesie produkcyjnym. Jego założeniem było stworzenie techniki, w której produkt końcowy będzie w pewnej mierze owocem przypadku wynikającego z procesu technologicznego. Owocem procesu jest zniekształcona sferyczna forma zawierająca w sobie szereg wewnętrznych przestrzeni, które stanowią miejsce osadzenia źródła światła.

Timber Wave by AL_A with ARUP, 2011


[EN] Award-winning architects AL_A and engineering firm Arup transformed the V&A Museum's Grand Entrance on Cromwell Road with the installation of a giant timber wave cascading down the steps. Built from oil-treated American red oak, Timber Wave was a three-dimensional latticework spiral, 12 metres in diameter, that employs construction techniques and materials normally used in furniture making to create a majestic three - storey - high structure.

'The brief was to respond in some way to the entrance of the V&A. For us it was about making very explicit the London Design Festival residency there,' says architect Amanda Levete of AL_A. 'We wanted to take the V&A out onto the street.'

Timber Wave does exactly that, creating an outdoor installation that is not only graceful, but technically ingenious. Working with engineers and timber specialists from Arup, AL_A's Timber Wave is a feat of precision construction.

'We have taken thin hardwood lamination techniques more usually used in furniture making and applied them at a different scale,' says Levete. 'The timber entrance is three-dimensional and asymmetric in form, and each timber piece is precisely calibrated for optimal structural performance and sculptural elegance.' It is the high strength-to weight ratio of American red oak, an abundant US hardwood resource, that allows AL_A and Arup to create this delicate design in such a large scale. The wood has been treated with a biocide oil treatment that gives red oak the necessary protection to be used outside.

Blow and Roll by Oskar Zieta, 2010

W designie według Zięty, opartym na pojęciu procesu, przeplatają się ze sobą technologia, materiałoznawstwo, inżynieria, ale także sztuka. Stąd jego obecność na wielu wystawach (m.in. w Cardi Black Box Gallery w Mediolanie podczas Salone 2011 i w Stilwerk Limited Editions Gallery w Hamburgu, 2011) i festiwalach designu, podczas których chciał pokazać coś więcej niż gotowe produkty. W 2010 roku podczas London Design Festival z 20-metrowych nadmuchiwanych elementów stworzył na dziedzińcu Victoria & Albert Museum oryginalną fontannę "Blow & Roll". O wykorzystaniu w niej - po raz pierwszy na świecie - rolowanego profilu stalowego, zadecydował w dużej mierze przypadek.

"Mieliśmy dostarczyć wielkoformatową instalację na dziedziniec" - opowiada Zięta. - "Okazało się, że wejścia są zbyt małe, żeby cokolwiek tamtędy przenieść. Wtedy zrobiliśmy rolowaną instalację, która odkształciła się do właściwej formy po napompowaniu." (*http://culture.pl/pl/tworca/oskar-zieta)

Crest by Zaha Hadid Architects, commissioned by Meliã Hotels International, 2014


[EN] Crest, designed by Zaha Hadid Architects and commissioned by Meliã Hotels International, provides an engaging feature across the pool in the centre of the V&A’s John Madejski Garden. Crest is designed as a demountable sculpture to be installed as a permanent feature within the ME Hotel in Dubai, also designed by Zaha Hadid, which opens in 2016. The form explores the relationships between fluid and Cartesian, solid and void, surface and structure inherent within the hotel’s design.

Engineered with Buro Happold and manufactured by Litestructures, the shell-like structure was pre-stressed in order to be realised as thin as possible, assembled as a flat plate of aluminium which is then bent into shape in situ.

“We envisioned creating a piece that would emerge from the pool which is the centrepiece of the space, both visually and in terms of social interaction,” explains Hadid. “Crest is intended to offer an exciting new perspective with which visitors experience the courtyard. It will multiply the movements of the water and the historic backdrop within which it is sited. It will capture the attention of visitors as they enter the space and draw them towards exploring the new quality of space created within.”

Hadid’s intention for Crest is that it should complete the pool as though it was always intended to be a part of the space. The title comes from the crest rising above the waves in the pool, creating a new peak and visual focal point within the courtyard which is simultaneously in dialogue with the historic architectural environment as well as actively reflecting the movements within it, via the metallic surface which reflects the sky on one side and the rippling water on the underside.

Tower of Babel, Barnaby Barford, 2015


[EN] A major sculptural installation created for the V&A by artist Barnaby Barford, The Tower of Babel tells an array of stories about our capital city, our society and economy, and ourselves as consumers. Standing an imposing six metres high, the Tower comprises 3000 bone china shops, each one unique, each depicting a real London shop photographed by the artist. At its base the shops are derelict, while at its pinnacle are the crème-de-la-crème of London’s exclusive boutiques and galleries.

Standing as a monument to the great British pastime of shopping, Barford’s apparently precarious Tower playfully likens our efforts to find fulfilment through retail with the biblical Tower of Babel’s attempt to reach heaven. Explicitly blurring the boundaries of art and commerce, each shop in the Tower will be for sale during its exhibition. With more prestigious but less affordable properties higher in the Tower, Barford confronts us with the choices we ourselves make as consumers, through necessity or desire.

This blog explores The Tower of Babel through its development, creation, exhibition, and sale, processes which will involve the artist cycling over 1000 miles to photograph shop facades from each of London’s postcodes, and the manufacture of 3000 bone china shops in Stoke-on-Trent.

Textile Field by Textile Field by Ronan and Erwan Bouroullec with Kvadrat, 2011


In response to an invitation from Kvadrat, Ronan and Erwan Bouroullec created the site-specific installation ‘Textile Field’ for the 2011 London Design Festival. ‘Textile Field’ was situated in the Raphael Gallery of the Victoria and Albert Museum.

Measuring 30m long by 8m wide, ‘Textile Field’ created a sensual, comfortable and colourful environment where visitors are invited to sit, stand or lie and contemplate their surroundings. The installation was constructed from 13 shades of the Kvadrat fabric Hallingdal.

Double Space by Barber & Osgerby with BMW, 2014


[EN] Designers Edward Barber and Jay Osgerby have collaborated with BMW to create a remarkable and memorable experience in the V&A’s Raphael Gallery.

Barber & Osgerby have long been fascinated by aerospace, automotive and maritime engineering and their V&A project reflects this interest. Two mirrored silver structures will be suspended in the centre of the gallery and will epitomise BMW’s own technological innovation and precision. The choreographed movement of the giant structures will distort the view of the Raphael cartoons on display, the architecture of the room and the viewer’s perception of the space.

Edward Barber & Jay Osgerby comment: “The dramatic scale and complexity of this commission makes it a real challenge and is an amazing opportunity for us to further explore themes of movement and performance. We believe this collaboration with BMW will celebrate the paintings and the architecture by creating an immersive and memorable experience, offering a totally new perspective on the world famous Raphael Gallery.”

Framed by Stuart Haygarth with John Jones, 2010


[EN] In 2010 the Festival commissioned artist and designer Stuart Haygarth to collaborate with leading framing company John Jones to create a dramatic installation on the grand marble staircase leading to the Architecture Galleries. Haygarth created a cascade from over 30

traditional and contemporary, bespoke frame mouldings, spanning in lengths of almost 20 metres each over the staircase, bringing a significant piece of the Museum's architecture to life. Each profile was individually finished with colours, stains, wax finishes and specialist techniques including traditional gold leaf.

Creating magical and evocative stories through objects is central to Haygarth's work, and his installation at the V&A will be no exception. As Haygarth has said: "My work revolves around everyday objects, collected in large quantities, categorised and presented in such a way that they are given new meaning."

Prism by Keiichi Matsuda with Veuve Clicquo, 2012


[EN] Prism presented an alternative view of London, exposing unseen data flows in the capital through a sculptural, immersive interface suspended in the V&A’s uppermost cupola. The installation was an investigation into the virtual life of the city, and our own often ambiguous relationship with the data that controls our lives. First time visitors to the London Design Festival are often blown away by the scale and variousness of the city they've come to. How do you even begin to represent such complexity?

London-based designer, digital artist and film-maker Keiichi Matsuda's Prism presented an ingenious window on that complexity, using data to depict the ever changing nature of the capital. His formidable digital installation at the V&A - a giant, sculptural lantern - was made up from a series of screens through which fast moving data streams are visualised, coaxed into unfolding shapes and patterns of light and colour.

You Know You Cannot See Yourself So Well as by Reflection by Frida Escabedo, 2015


[EN] Fascinated by the idea of the ‘cultural other’ and the multicultural influences that co-exist in both contemporary Mexico and the UK, celebrated Mexican architect Frida Escabedo created You Know You Cannot See Yourself So Well as by Reflection, a temporary pavilion for the John Madejski Garden.

Made up of layers of reflective surfaces, and open to visitors to explore and populate, the installation aimed to spark new experiences and conversations about identity and cultural exchange.

The curved and rectangular platforms were laid out in a grid-like formation, referencing the Aztec city of Tenochtitlán that was built on a lake in the 14th century and has since been enveloped by the urban structure of Mexico City. The mirrored platforms acted as a liminal zone that both occupied the garden and reflected the buildings around it.

Like a mask, the pavilion temporarily changed the appearance of the garden for the duration of the Festival, making its own ‘otherness’ evident through contrast and juxtaposition. In doing so, it constructed a new narrative that brought together two very different cultural landscapes.

The title of the installation – which is a quote from Shakespeare’s Julius Caesar – is in reference to both the literal reflectivity of the platforms and the work’s philosophical inspiration.

Zotem by Kim Thome with Swarovski, 2015


[EN] During the London Design Festival visitors to the V&A were greeted by Zotem, a bold and colourful installation conceived by London-based Norwegian designer Kim Thomé with Swarovski.

The installation comprised over 600 custom-made Swarovski crystals scaled up to 2.5 times their regular size and displayed in a grid pattern within a frame of matte black aluminium. A roll of vividly printed mesh ran in a continuous loop inside the two aluminium faces – moving up one side and down the other. As light shone through the graphic mesh and the crystals, the pattern and colour were projected and distorted, creating an ephemeral and dynamic effect that brought the crystal to life and drew the eye upward. At the top of the structure – which could be viewed from the Contemporary Ceramics gallery – the crystal grid pattern fanned out in a crescendo of colour and light.

The title, ‘Zotem’ is a portmanteau word blending the sounds and meanings of both ‘totem’ and ‘zoetrope’ – a 19th century animation device that pre-dates film and gives the illusion of motion by displaying a sequence of isolated drawings that appear to move as they flick past the eye in quick succession. Like a zoetrope, the installation seemingly brought the inanimate to life. The looping mechanism of Zotem – which was visible through the open sides of the structure – also referenced the vintage animation device.

“The installation is analogue but it looks strangely digital,” said Thomé. “It’s a play between how something appears and how it actually works – a bit like an optical illusion.” In another illusion, the installation appeared to intermittently turn itself off and then back on, an effect created by black segments on the patterned mesh.

Chair Arch by Ecrol with Wallpaper*, 2009


[EN] Millimetre was commissioned by Wallpaper Magazine to develop and produce Martino Gamper’s chair arch, this striking piece was built in the John Madejeski Garden at the Victoria and Albert Museum.Millimetre constructed the double arch in sections which were constructed at the Ercol factory in High Wycombe, these sections were lifted into position and connected on site.

Two arches; the larger arch 9.4M wide has 60 number chairs and has a height of 3.2M whilst the smaller arch is 8.5M in width and stands 2.6M high with 50 chairs. The ends of the arches were fixed to hollow bases made from birch plywood either painted or oiled. The bases were each loaded with 330kg of weight.

The Progressive Extension of the Field of Individual Development and Experience by FAT Architecture and Amorim, 2013

[EN] This impactful project comprises a natural a cork floor occupying the existing bridge over the V&A’s Medieval Galleries, in which the visitor is immersed in a world of cork, encountering its visual and tactile properties in a bold effort to challenge existing connotations...with the material. The project is a collaboration between FAT Architecture, the London-based practice renowned for its conceptual approach to architecture and Amorim, the world’s largest producer of cork. The floor is made up of a series of tiles laid in a repeating trompe l’oeil geometric pattern, which is based on a scientific diagram of the cellular structure of cork as a material.“Amorim’s partnership with the London Design Festival is a unique opportunity to showcase CorkTECH, our innovative, design-driven natural cork flooring. Combining FAT’s cutting-edge creativity with cork’s unmatched technical capabilities will deliver an exciting, contemporary perspective on Nature’s most sustainable flooring solution.” - António Amorim, Chairman and CEO of Corticeira AmorimThe pattern also accidently recalls certain architectural characteristics of the Douro region of Portugal, a world-class wine region so associated with cork, geometric tile patterns can be found in a number of vernacular buildings and pieces of signature architecture such as the Casa da Musica in Porto.

Human Nature by Jeremy Maxwell Wintrebert, 2014


[EN] The entrance to the V&A’s Glass Galleries will be transformed for the Festival by a site specific work created by the Paris- based designer Jeremy Maxwell Wintrebert. During a visit to Glashütte Lamberts in Waldsassen, Germany – one of the oldest mouth-blown glass factories in ... During a visit to Glashütte Lamberts in Waldsassen, Germany – one of the oldest mouth-blown glass factories in the world – Wintrebert was struck by the piles of freshly made glass cylinders, waiting to be flattened out to create panes of glass.

“I was fascinated by how beautiful and simple they were,” he explains. “My curiosity and fascination peaked. I instinctively wanted to create something out of these. I saw them as a part of something bigger, something beyond being a unit in a production line.” Taking inspiration from the Art Nouveau movement’s attempts to “bring the beauty of nature back into our lives” and working in close collaboration with leading glass specialist Vessel Gallery and supporters Perrier-Jouët, Wintrebert’s installation plays with the balance of light and form, as well as the paradoxical strength and fragility of glass. “Every cylinder is hand-blown and therefore unique,” he says.

Bench Years by Collaboration with Established & Sons, 2012

[EN] The London Design Festival collaborated with the British furniture and lighting producer Established & Sons to create a series of one-off benches to mark ten years of the Festival. Each one was made from a different material and designed by a different designer. The family of benches were exhibited collectively in the Italianate surroundings of the John Madejski Garden at the centre of the V&A. Within a city, the bench is a recurring component of our urban furniture yet its design is often subject to so many limitations to do with size, durability, vandalism etc. The Bench Years project aimed to free designers of such limitations, instead giving them a particular material to focus on. Working with individual material suppliers, 10 designers have aimed to exploit and accentuate the inherent attributes of their chosen material. The resulting family of benches explored the versatility of the materials and challenge our assumptions of the humble bench.

żródło: Project Highlights 2009-2015 London Design Festival
photos: Project Highlights 2009-2015 London Design Festival

+ London Design Festival Project Highlights 2009-2015
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