It’s a real shame that I couldn’t get a ticket to one of the landmark events that solidified London’s status as a hub of concentrated creative energy. This year, those who harness this energy – the ones who still burn with the desire to make the world a better place – used it to raise public awareness on a wide range of issues.

At the London Design Festival, themes of synergy between nature and humanity took center stage, embodied in the work of Marjan van Aubel. Hot on the heels of her installation, the industrial design team at Diez Office encouraged an unspoken dialogue about ecological responsibility with their project Vert. In general, the program featured numerous innovative solutions, breaking down the boundaries of stereotypical thinking. And we crave that kind of intellectual stimulation! In this piece, I’ll talk about the playful, mesmerizing, light-hearted and literally warming design on display this year!

London and design go hand in hand. It is part of our story. London Design Festival is a platform for hundreds of design stories to be told. Each of them speaks to an expanding audience hungry for design ideas and enjoying the quality and diversity of what’s on offer. It all confirms London’s status as the global center of design

– says Ben Evans CBE.

It’s hard to disagree with the words of this passionate advocate and activist for all-encompassing creativity, which can be found in everything that surrounds us. Today, we’ll spot it in glass, but in a broader sense, we’ll explore the role materials play in design – and in parallels. Parallels not only between the red oak beams of the exhibit at Chelsea College of Arts but also between the architecture of play and real life.

The Sun, My Heart

The energy within us has the power to create incredible things, especially when we learn to recognize it and channel it in the right direction – one where we create something extraordinary that captivates the world.

Energy is the central theme in the work of Dutch designer Marjan van Aubel. Her creations can hardly be described as merely "sunny" although, in reality, each one of them is filled with light. Without this element, we can no longer imagine her work.

Energy, as an aesthetic element, has become an integral part of every object crafted by her hands: from glassware, which reflects the flow of matter, to entire installations. We, in turn, have become vessels filled with her revelation:

They were transparent and colored. It was the first time I saw that solar energy could be beautiful. From that moment, I started implementing it into different objects: glassware, tables, light installations, buildings. Now, I see all surfaces as a potential to harvest energy

Speaking of installations, we can now explore her piece “The Sun, My Heart” a highlight of the LDF collection. The title becomes somewhat rhetorical when you consider van Aubel’s relationship with the primary source of life, with roots that delve deep into Buddhist philosophy. In the language of Vietnamese monks, it calls on us to "open our hearts to new connections".

These connections come to life through 77 self-charging Sunne lamps (some of which represent nothing more than rays of light), symbolizing the complete solar cycle, accompanied by harmoniously selected sounds that echo the sun's vibrations. Working in unison, this masterpiece immerses the viewer in a state of total relaxation, stimulating the brain's theta waves.

We receive the sun in such abundance. It’s obvious that we need to transition to solar energy, but the current approach is too technical. We shouldn’t only talk about numbers and efficiency. The sun is something holistic; we can feel it. We need beauty and design to make us want to change things. We need to feel it inside

– the designer shares.

Pavilions of Wonder

A fresh perspective with a historical undertone, embodying cultural heritage – the true American dream, brought to life in a trilogy of works by designer Nina Tolstrup. This project has become a symbol of vivid imagination and aesthetics, driven by a spirit of fun and playfulness.

The installation consists of three objects, harking back to the time when Palm Springs became the true capital of modernism in the USA, owing to its ability to "grow rapidly" with affordable housing after World War II. This area, dotted with buildings of the corresponding architectural style, would later become a prototype of inspiration for future designers.

Among those designers is Nina Tolstrup, who infused the project with the same playful spirit reflected in Barbie’s DreamHouses. It is through her vibrant qualities, captured like film on a reel, that we recognize the essence of the designer.

We looked at the evolution of the DreamHouse, informed by Greater Palm Springs architecture. We examined the visual language and iconic elements common to both

Vert

And here are the very same "parallels" made from red oak, presented in the collaborative work of the American Hardwood Export Council (AHEC), the Munich-based Diez Office, and Frankfurt's Office for Microclimatic Cultivation (OMC°C).

This project is far from a cry for help, but rather a message of mindful care for the environment. Vert, which signifies something "green" is an undeniably bold statement, offering a tangible and effective solution to a global issue. It represents a solution through a small, carefully planned, and meticulously thought-out noble endeavor.

It can't be achieved just by planting trees or through individual façade and rooftop greening projects, so additional solutions are urgently needed. We need fairly large structures to generate the necessary amount of shade and biomass

– explains Nicola Stattmann, co-founder of OMC°C.

The architectural installation consists of several triangular structures, each standing 10 meters tall. These are all covered with plants such as morning glory, cheese plant, black-eyed Susan, and night-blooming moonflower, which will act as "killers" of carbon dioxide released into the atmosphere.

Interestingly, the modularity of the designed structure allows for Vert to be produced in series in the future. This once again highlights the brilliance of the minds behind the project, brought to life with the support of AHEC, who have long been advocating for the use of durable engineered materials.

Red oak glulam's natural beauty, combined with its structural capabilities, makes it a promising choice both functionally and aesthetically

– says Stefan Diez, Diez Office founder.

The London Design Festival 2024 masterfully demonstrated the power of design in tackling global issues – from sustainable energy solutions to supporting biodiversity and reimagining urban spaces. Through innovative projects, the festival highlighted the crucial role of creativity in shaping a more sustainable and harmonious future. As these projects blur the lines between functionality and beauty, they invite us to envision a world where technology, nature, and human ingenuity coexist seamlessly, encouraging a more thoughtful and responsible approach to life.

The London Design Festival week was one of the most anticipated events for us. Our fields are closely intertwined – that much is clear. We keep track of the latest trends to make our 3D visualizations even more realistic, filled with the smallest details that reflect the quality of bringing the 'imagined' to life. We’re interested in everything: from the materials often used in designers' projects to the very concepts behind these works, because this knowledge embodies our commitment to staying current. We don't want to fall behind. We aim to build trust with every client interaction, ensuring that the result meets and exceeds their needs, leaving them fully satisfied

– says Alexander Kasperovich, CEO of 3D visualization and rendering studio, Studio57.