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      Maison Lune gallery in California showcases art and design in residential setting

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      This art and design gallery in Venice, California occupies a former private house where interiors by designer Gabriella Kuti provide a warm, neutral backdrop for the works on show.

      Maison Lune was co-founded by French artist and designer Sandrine Abessera and Ukrainian fashion designer Lubov Azria, who set about creating a “dream home, where beauty rules”.
      Maison Lune is presented as a collector’s house, where all the art and design pieces are for sale”We want to build an alternative to traditional galleries, which are often perceived as too elitist and intimidating,” said Abessera and Azria.
      The duo worked closely with interior designer Gabriella Kuti to turn what was a private house in a protected historical building into a space to showcase a rotating series of exhibitions.
      The house has various terraces and balconies used to display works outdoorsThe gallery is organised like a collector’s home, with artworks and design pieces spread across multiple rooms that total 4,000 square feet (371 square metres).

      Their intention was to allow visitors to journey through the different rooms and floors, which are designed to exude a warm atmosphere.
      The interiors were designed to provide a warm and neutral backdropThe team didn’t need to alter too much of the existing interiors but added storage and lighting to help better display the works.
      “The space was already an amazing canvas for this purpose: high ceilings, lots of lights and skylight, white limestone floors,” the co-founders told Dezeen. “We created more shelving with LA artisans and added more lights.”
      The gallery’s debut exhibition is titled Transcendence and is curated by Gaia Jacquet MatisseArchitectural features like circular windows, spiral staircases and marble bathrooms all bring character to the gallery.
      The house also has a terrace with a small swimming pool and balconies for displaying pieces outdoors.
      The team added shelving created by LA-based artisans for displaying smaller objectsEverything displayed through the various styled vignettes, from artworks to collectible design pieces, is for sale.
      The aim is to spotlight a wide range of both established and emerging artists and designers, who work across mediums and techniques including painting, sculpture, photography, furnishings, ceramics, lighting, textiles and objects.

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      “The pieces showcased represent the varied and changing cultural landscape of identities, values and beliefs,” the pair said.
      Inaugurating the gallery is a group exhibition titled Transcendence, curated by Gaia Jacquet Matisse and including work by her mother, Sophie Matisse, along with artists Bobbie Olivier, Jeannie Weissglass, Edson Fernandes, James Fischetti, Angela Damman and Santiago Martinez Peral.
      Existing architectural features like a circular bathroom window add character to the galleryTogether, the show aims to “examine the concept of duality within our existence as humans inhabiting the earth, alongside nature” according to the team.
      This debut exhibition will continue until the Frieze Los Angeles 2023 art fair, which takes place 16-19 February, then the gallery is scheduled to host four showcases per year.
      Maison Lune is located in a historic part of Venice, California, next to one of the city’s canalsPresenting art and collectible design in a residential setting has become a popular way for gallerists and fairs to contextualise the objects, and make them more appealing to potential buyers.
      Galleries like The Future Perfect, which operates showrooms in LA and New York under the moniker Casa Perfect, and the Nomad Circle series of travelling design fairs are among those that have found success through this format.

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      Design + Health exhibition in Valencia highlights importance of design in the health sector

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      Promotion: exhibited as part of World Design Capital Valencia 2022, the Design + Health exhibition showcases the influence of design on advancements in science and medicine.

      Presented at the Valencian Museum of Enlightenment and Modernity (MuVIM) in Spain, the exhibition aims to illustrate how design has been used in the health sector to improve people’s wellbeing.
      The exhibition takes place from 11 November 2022 to 16 April 2023, during Valencia’s tenure as the World Design Capital 2022.
      The exhibition is part of World Design Capital Valencia 2022The Design + Health exhibition combines research from various design industries, including architecture, interiors, industrial design, graphic communication and fashion.
      Organised into 25 themes, the display outlines the progression of science and medicine by reviewing past disciplines, analysing current practices and illustrating future possibilities.

      The exhibition examines the impact of design within the health sector”Design in itself cannot cure anything, but neither could a vaccine if we did not have a syringe to inject it with,” said exhibition curator Ramón Úbeda.
      “Designing is part of the solution, it is not an added value but rather intrinsic to the development of any innovation for the social good.”
      It covers designs from a range of industries, including architecture, interiors and fashionThe exhibition contains over 500 examples of design for health, including creations from renowned designers and architects such as Charles and Ray Eames, Barber Osgerby, Philippe Starck, Yves Béhar, Nendo, Piero Lissoni, Matali Crasset, Benjamin Hubert, Raw Color and Tokujin Yoshioka.
      On display for the first time in Spain is the Emergency Bike, an electric bicycle design currently being tested in Paris.
      The bike was created by creative agency Wunderman Thompson to allow doctors to cut through road traffic and reach medical emergencies faster.
      The exhibition contains over 500 examples of health product designsOne of the aims of the display was to promote design for the health sector, which is often overlooked compared to designs that are more prominently featured in magazines, such as furniture and lighting.
      “This is probably one of the most ambitious exhibitions in the entire programme of Valencia World Design Capital 2022,” said Xavi Calvo, general director of the year-long programme.
      On display is a medical electric bike”The open, witty and didactic nature of this exhibition will bring society as a whole closer to such familiar and vital issues as health and the search for wellbeing,” Calvo continued.
      The exhibition concludes with the screening of the documentary The Hospital of the Future, which was created by Dutch architecture studio OMA.
      Design + Health exhibition takes place at the Valencian Museum of Enlightenment and Modernity, Valencia, Spain from 11 November 2022 to 16 April 2023 as part of World Design Capital Valencia 2022. See Dezeen Events Guide for an up-to-date list of architecture and design events taking place around the world.
      Partnership content
      This article was written by Dezeen for World Design Capital Valencia 2022 as part of a partnership. Find out more about Dezeen partnership content here.

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      Design Brut: Philia & Kids showcases sculptural furniture designed by “rather wise” children

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      Designers Antoine Behaghel and Alexis Foiny have created sculptural olive wood furniture based solely on drawings by children for a Galerie Philia exhibition.

      Design Brut: Philia & Kids is the inaugural programme of a non-profit initiative conceived by international art gallery Galerie Philia that aims to engage children in design.
      Design Brut: Philia & Kids was an exhibition on display in ParisThe project’s first edition invited 19 kids from a primary school in the Breil-sur-Roya village in France to design sculptural furniture that was exhibited at Espace Meyer Zafra in Paris from November until last week.
      Informed by the late French painter Jean Dubuffet, the initiative is named after art brut – or “raw art” – Dubuffet’s name for art created outside of academic limitations, such as art made by children.
      The furniture was constructed using children’s drawingsParticipants aged six to seven took part in a workshop over five months, where they were asked to draw their own interpretations of sculptural design under the supervision of BehaghelFoiny Studio founders Antoine Behaghel and Alexis Foiny and their teacher Virgile Ganne.

      The drawings range from a crocodile-like bench to colourful dining chairs and spikier, more abstract forms.
      “Several shepherds’ children drew hooves on the legs of the furniture, or horns on the backs of the chairs,” noticed Behaghel and Foiny.
      “Others, living near olive groves and the surrounding forest, drew leaves and branches on their furniture,” they told Dezeen.
      Nineteen children took part in the projectThe designers explained that they encouraged the kids to “assert their own creativity” as well as observe their classmates’ drawings and borrow forms from each other to make the design experience collaborative.
      “Against all odds, we realised that, when faced with furniture design, the children’s first intentions were rather wise, and copied the shapes of furniture they saw every day,” they said.
      Antoine Behaghel and Alexis Foiny constructed the furniture from olive woodAfter this, Behaghel and Foiny sorted the drawings into different furniture typologies including tables, chairs, stools, coat racks and pedestal tables, as well as categorising the creations by “spirits and styles”.
      The pair then worked with a cabinetmaker in Breil-sur-Roya to bring the drawings to life by making physical furniture out of local olive wood.
      “In some places, we shrank or enlarged the silhouettes drawn by the children, to better distribute the weight,” noted the designers.

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      During this process, the children were taken on a tour of a local sawmill and shown every stage of the production process in order to familiarise them with carpentry.
      Behaghel and Foiny explained that olive wood was chosen for its cultural significance to Breil-sur-Roya, which is known as the “pays des oliviers” (olive tree country).
      The designers painted the material in various colourful shades that aimed to subtly tint, rather than conceal, its veiny surface.
      “It seemed to us very relevant to associate the intervention of very young children wiht a thousand-year-old wood!” noted the designers.
      The pieces range from recognisable silhouettes to more abstract formsThe pair hopes that the workshop will have taught the children about the importance of furniture design while showcasing their personal creativity without limitations.
      “In the end, the children’s drawings showed a real spontaneity,” reflected Behaghel and Foiny.
      “They are both free from technical reflexes and therefore led us to take risks and at the same time detached from the aesthetic automatisms that we impose on ourselves more or less consciously as professional designers,” they added.
      “They led us to extract ourselves from standardisation of tastes and beauty, to play more with imbalances and proportions.”
      Subtle colour was used to brighten each wooden pieceThis is not the first time that children have tried their hand at chair design. Third and fourth graders at a school in New York have designed a number of seating collections under the supervision of art instructor Bruce Edelstein, including chairs with horns and other wooden seats.
      The photography is by Maison Mouton Noir. 
      Design Brut: Philia & Kids was on display at Espace Meyer Zafra from 10 November to 8 December 2022. See Dezeen Events Guide for an up-to-date list of architecture and design events taking place around the world.

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      Antti and Vuokko Nurmesniemi's “common design philosophy” showcased at Helsinki Design Museum retrospective

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      A vivid orange Helsinki subway seat and an iconic timber sauna stool are among the pieces in this exhibition of work by design duo and couple Antti and Vuokko Nurmesniemi.

      Various works by the late interior architect Antti Nurmesniemi and textile designer Vuokko Nurmesniemi are presented in this eponymous exhibition at Helsinki Design Museum, which charts the pair’s work from the 1950s to the 2000s.
      An orange Helsinki subway seat is included in the exhibition. Photo is by Mari KallionpääFrom kitchen crockery to colourful textiles, the Nurmesniemis created a broad range of designs together and individually over their solo and shared careers before Antti’s death in 2003.
      “The exhibition is important because there has never been a joint retrospective exhibition about this central designer couple in Finnish design history,” curator Susanna Aaltonen told Dezeen.
      Colourful garments by Vuokko also featureArranged across a gallery at Helsinki Design Museum, the show includes a striking orange subway seat that Antti created in 1982 in collaboration with industrial designer Börje Rajalin – a model that is still in use on Helsinki transportation today.

      Visitors can also find an extensive cluster of garments featuring bright hues and geometric patterns, designed by Vuokko for her fashion label Vuokko Oy, which she founded in 1964.
      Antti’s red Pehtoori coffee pot is well-known in Finland. Photo is by Mari KallionpääA red Pehtoori coffee pot from 1957 by Antti is also on display – described by Aaltonen as a product that is “often highlighted as Finland’s early industrial design item” – as well as elegant models of electricity pylons created with interior architect Jorma Valkama in 1997.
      Also central to the exhibition are photographs of and furniture from Studio Home Nurmesniemi, the couple’s live-work home and atelier in Kulosaari, Helsinki, which was completed in 1975.
      Lounge chairs by the couple are defined by black, white and red pinstripesThese pieces include signature wooden sauna stools and 1980s geometric lounge chairs designed by Antti and upholstered in Vuokko Oy pinstripe fabrics.
      This furniture is displayed alongside archival imagery of the designers in their modernist house – a setting still used for Vyokko Oy photoshoots.

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      “All in all, the couple’s shared home and studio house is the finest example of the [their] lifestyle dedicated to design,” reflected Aaltonen.
      “I hope that the exhibition will increase people’s understanding of Finnish cultural heritage and that people will also learn to cherish and preserve objects better, especially interiors.”
      Artefacts on display vary from furniture to pylon scale modelsOther shows at Helsinki Design Museum include a recent exhibition by design studio Formafantasma and furniture brand Artek and a temporary “insect hotel” installation that is currently on display outside the museum.
      Previous retrospectives at the museum include one centred on the plastic furniture and chairs of Finnish designer Eero Aarino.
      The exhibition is held at Helsinki Design MuseumAntti + Vuokko Nurmesniemi is on display at Helsinki Design Museum from 28 October 2022 to 9 March 2023. See Dezeen Events Guide for an up-to-date list of architecture and design events taking place around the world.
      The photography is by Paavo Lehtonen unless otherwise stated. 

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      Design Museum's Objects of Desire exhibition explores “what surrealism is and why it matters now”

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      Curator Kathryn Johnson explains the story behind surrealism and its impact on design in this video Dezeen produced for the Design Museum about its latest exhibition.

      Titled Objects of Desire: Surrealism and Design 1924 – Today, the exhibition features almost 350 surrealist objects spanning fashion, furniture and film.
      The exhibition, which was curated by Johnson, explores the conception of the surrealist movement in the 1920s and the impact it has had on the design world ever since.
      The exhibition features nearly 350 pieces of art, design, photography, fashion and filmIt features some of the most recognised surrealist paintings and sculptures, including pieces by Salvador Dalí, Man Ray and Leonora Carrington, as well as work from contemporary artists and designers such as Dior and Björk.
      “Surrealism was born out of the horrors of the first world war, in a period of conflict and uncertainty, and it was a creative response to that chaos,” Johnson said in the video.

      “It saw in the fracturing of the world an opportunity to shake things up, to do things differently, to think differently, and to acknowledge the subconscious and its importance for our everyday lives.”
      The exhibition explores the beginnings of the surrealist movement in the 1920sThe exhibition explores surrealism’s impact on contemporary design, with nearly a third of the objects on show dating from the past 50 years.
      “We want to start a conversation about what surrealism is and why it matters now,” Johnson said.
      The name of the exhibition references the importance of the concept of desire within the movement. In the video, Johnson explained that the surrealist movement began with poetry, with French poet and author André Breton penning the first surrealist manifesto.
      Breton described desire as “being the sole motivating force in the world” and “the only master humans should recognise.”
      The exhibition’s name refers to the importance of the concept of desire within the movementThe exhibition is segmented into four themes. It begins with an introduction to surrealism from the 1920s and explores the influence of the movement on everyday objects, as well as its pivotal role in the evolution of design throughout the twentieth century.
      Another part of the exhibition explores surrealism and interior design, since early protagonists of the movement were interested in capturing the aura or mystery of everyday household objects.
      Objects on display include Marcel Duchamp’s Porte-Bouteilles, a sculpture made from bottle racks, and Man Ray’s Cadeau/Audace, a traditional flat iron with a single row of 14 nails.
      Early surrealists were interested in capturing the mystery of ordinary household objectsThe exhibition moves along to the 1940s, where designers started using surrealist art for ideas to create surprising and humorous objects. Items borne from this include Sella by Achille and Pier Giacomo Castiglioni and Jasper Morrison’s Handlebar Table.
      A key section of the exhibition includes a spotlight on surrealism’s significance in the UK, documenting the partnership between Salvador Dalí and the British poet and art patron Edward James, whose collaboration resulted in some of the most notable works of surrealism such as the Mae West Lips sofas and the Lobster Telephone.
      The exhibition features a number of pieces by Dalí including the Lobster TelephoneAnother section of the exhibition examines surrealism and the body in relation to the human form, sexuality and desire.
      Included in this section are Sarah Lucas’ Cigarette Tits, in which the language of tabloids is used to expose stereotypes of female sexuality, and Najla el Zein’s Hay, which highlights the sensory pleasures provided by everyday materials.
      Photographs, vintage magazine covers and fashion items are on display to show the impact of surrealism on the fashion industry starting from the 1930s.
      The exhibition features fashion and objects exploring the human form, sexuality and desireAccording to Johnson, “surrealism attracted more women than any other movement since romanticism.” As a result, she wanted to ensure there was a wide representation of female artists and designers in the exhibition.
      “I think that was partly because of concerns about the body, about sexuality, and how the domestic were key themes of surrealism from the beginning,” she said.
      “But those themes were approached in a very original and critical way by the women associated with the movement – some of whom would not have considered themselves surrealists but were in dialogue with those ideas.”
      Surrealism attracted more women than any other movement since romanticism, according to JohnsonThe final section of the exhibition looks at the surrealist preoccupation with challenging the creative process itself and how this resulted in original works of art and design.
      According to Johnson, contemporary designers are still using ideas from early surrealism, such as welcoming chance into the creative process, or using techniques like automatism.
      “The surrealists try to write and draw without thinking, and we see in the exhibitions and studies where they are drawing in an automatic way. But now, of course, contemporary designers have other tools to use to try and bypass the known and the conventional,” Johnson said.
      The exhibition is on show at the Design Museum until 19 February 2023An example of this in the exhibition is Sketch Chair by design studio Front, which was produced using motion capture technology to translate the movement of drawing in mid-air into a 3D-printed form.
      “The surrealists knew that changing the mind would change the material world and we’re now at this frightening but thrilling juncture where we’re creating a computerised intelligence that can be creative,” Johnson said.
      Objects of Desire: Surrealism and Design 1924 – Today opened at the Design Museum on 14 October 2022 and is on show until 19 February 2o23.
      Tickets are available at designmuseum.org/surrealism.
      Partnership content
      This video was produced by Dezeen for Design Museum as part of a partnership. Find out more about Dezeen’s partnership content here.

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

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      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”.
      The map showcased the local ecology in the areaIt 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.
      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 were planted in Ginza in 1906The 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.

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      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.
      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.”
      Earth was collected as part of the exhibitionAs 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.
      The map featured in the Japanese brand Shiseido’s windowAccording 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.
      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.

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      Architecture at Home exhibition presents “human-centred” housing prototypes

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      New York studio Levenbetts and Mexico City practice PPAA are among the firms that have designed sustainable and socially conscious architecture prototypes for an exhibition on housing at Crystal Bridges Museum of American Art in Arkansas.

      Architecture at Home is an exhibition that brings together experimental housing by five architecture firms based across the Americas.
      The prototypes are positioned alongside The Fly Eye Dome by Richard Buckminster FullerThe prototypes respond to issues central to the state of today’s housing in both the USA and around the world by acknowledging the present needs of occupants and their natural surroundings, as well as reflecting on the past.
      Curated by Dylan Turk, the show takes place outside along the meandering Orchard Trail at Crystal Bridges Museum of American Art in Bentonville, Arkansas.
      Levenbetts created a pinewood structureThe designs are positioned alongside a 50-foot prototype of the 1965 Fly’s Eye Dome by the late American architect and theorist Richard Buckminster Fuller – a prototype that encompassed his idea for the ultimate affordable, portable and self-sufficient home.

      One of the five prototypes is House of Trees: City of Trees by Levenbetts, a structure made from Arkansas southern yellow pine that is composed of two pavilions connected by walkways, which are housed under fanned slats of wood.
      Built from mass timber, the prototype was designed to offer a low-cost and sustainable solution to housing with a form that complements the contours of its surrounding landscape, according to Levenbetts.
      Translucent panels connect inside and outside spaces in PPAA’s prototypeAnother prototype that aims to connect inside and outside spaces was created by PPAA, which includes natural soil flooring.
      Formed from translucent geometric panels, the house is designed to stand alone as a single structure or can be scaled to achieve a series of linked houses that would encourage community-based co-living.
      Totem House: Histories of Negation attempts to highlight systemic racism in Arkansas and beyond”The concepts presented here offer hope for the future,” said the museum.
      “Each structure demonstrates how thoughtful design can inspire more sustainable and human-centred models of building and living.”

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      Totem House: Histories of Negation is an experimental sculpture by Studio Sumo that aims to discuss the often-suppressed histories of Black and Indigenous peoples in northwest Arkansas through architectural symbols.
      Designed as a series of totemic structures, each totem is engraved with information citing events that detail the forced migration or expulsion of these communities over many years in Arkansas and elsewhere.
      Studio: Indigenous designed a prototype that emphasises a house’s hearthThe structures take the form of an outline of a house from a distance. But up close, the shape is meant to disappear – drawing attention to the injustice and displacement endured by local communities.
      Totem House can also be expanded into a functioning structure that can be prefabricated off-site, according to its architects.
      “Each firm recognises the complexities and barriers that exist in the current housing system, from financing and established building practices to neglected histories of place,” added Crystal Bridges.
      Mutuo offered a sculpture that addresses issues surrounding home ownershipStudio: Indigenous founder Chris Cornelius offered a prototype that aims to explore how conventional housing models could be improved for Indigenous peoples.
      Cornelius designed an experimental structure with a towering steel hearth, which he described as an important place to gather inside the home.
      Compartmentalised rooms also offer internal flexibility – a hallmark of many Indigenous homes, according to Cornelius.
      Architecture at Home takes place outside at Crystal Bridges Museum of American ArtLos Angeles-based practice Mutuo used concrete, steel, clay and Mexican handcrafted wood to create a prototype that aims to explore issues surrounding homeownership inclusivity.
      Made up of rigid columns, these building blocks represent stumbling blocks that many people experience when trying to secure their own house.
      Large sections of each room in the prototype home were omitted from the design, aiming to expose the many issues within the housing industry that are not often enough acknowledged, according to Mutuo.
      Visitors can explore the works along the museum’s Orchard Trail”My goal is to prove that affordability, beauty, and diversity in housing types can coexist when designing, regulating and developing housing,” said Turk.
      Other projects that explore experimental housing concepts include a community in Mexico with homes by Frida Escobedo and Tatiana Bilbao, a pair of hill-like buildings in France by MVRDV designed for “a variety of income levels” and Hackney New Primary School and 33 Kingsland Road – Henley Halebrown’s affordable housing project in London.
      The photography is by Ironside Photography. 
      Architecture at Home takes place from 9 July to 7 November 2022. See Dezeen Events Guide for an up-to-date list of architecture and design events taking place around the world.

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      Journey of the Pioneers exhibition presents the world in 2071

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      German studio Atelier Brueckner has created an immersive exhibition at the Museum of the Future in Dubai that aims to investigate the world in 2071.

      Named Journey of the Pioneers, the permanent exhibition was created for the recently opened Museum of the Future, which was designed by local studio Killa Design.
      Atelier Brueckner split the exhibition, which was shortlisted for this year’s Dezeen Awards, into three sections that aim to investigate what the world may look like 50 years from now. The sections focus on life in space, bioengineering developments and the future of well-being.
      The exhibition’s first district contains a space stationAccording to Atelier Brueckner, each district was designed using different materials and methods to represent their distinct but interconnected narratives.
      The first district focuses on life in a space station, the second on an organisation that aims to regenerate endangered ecosystems, and the final district examines the future developments of well-being rituals.

      “The experience touches on subjects and narratives that are relevant in the present day and foreseen to be still the challenges that we will face in the future,” said Atelier Brueckner.
      “The experience is both informative and transformative and calls on the visitors to embark upon an expedition to a future for which they will, through individual choices, become part of a collective effort to create a better future for all humanity.”
      The second district is named The LibraryThe first district presents the OSS Hope space station – the “largest man-made object in space”. Within the exhibition, visitors can look out from “space” to see a digital image depicting the Earth 50 years from now.
      During the immersive experience, visitors are “recruited” to undertake a fictitious mission aligned to the space station’s overall aim – “to use the sun’s energy to provide power for mankind by harvesting it from the moon and then transmitting it down to the Earth”.
      As a nod to its futuristic theme, the exhibition’s surfaces were 3D-printed, according to Atelier Brueckner.
      The Library presents a range of organisms, such as single-cell organisms, plants and mammalsThe second district is named the HEAL Institute – an organisation that uses bioengineering to help regenerate damaged ecosystems.
      Also included is a “digital Amazon”, which intends to showcase how life in the rainforest is interconnected.
      “In ‘the Forest’, visitors gaze upon a majestic Ceiba tree at the sound of rain, as thousands of dancing point clouds overlay the scenery with the choreographed, but invisible life, that infuses the Amazon,” said Atelier Brueckner.
      This district also features The Library, which includes 2,400 laser-engraved crystal jars that represent different species. This includes single-cell organisms, plants and mammals, which will either be alive or extinct by 2071.
      The organisms presented in the second district will alive or extinct by 2071The third and final district is described by Atelier Brueckner as “the space where the pioneers encounter themselves”. It aims to be a space where visitors can reconnect to their senses while exploring what the future of well-being will look like in an increasingly technological world.
      The district includes a number of therapies and treatments using technologies, such as “Movement Therapy” where visitors can explore and discover the benefit of dance. Additional therapeutic areas in the space include Grounding, Connection, and Feeling.
      The district also includes “The Centre”, which is designed as a space for relaxation and contemplation, and Atelier Brueckner chose earth and clay-like tones on the district’s walls to be in keeping with its theme.
      The final district explores a number of therapies including Movement Therapy”The design approach for the whole experience was an exercise in the creation of suspension of disbelief, crafting convincing environments through the choice of materials and the overall spatial design, and through the intricate score-like staging of the various narrative & sensorial components,” said Atelier Brueckner.
      “With moments of tension and moments of release, rhythmic crescendos and climaxes, and phases of decompression and contemplation.”
      The designers chose warm, earthy colours to complement the final districtIn addition to the main exhibition, the museum includes a space showcasing future innovations and products, in addition to a space with an “immersive and engaging landscape dedicated to children”.
      The exhibition’s design was created in collaboration with Marshmallow Laser Feast, Jason Bruges Studios, Galerija 12, Altspace, Framestore, Superflux, Emilie Baltz, Deep Local and Certain Measures.
      Journey of the Pioneers been shortlisted in the exhibition design category at this year’s Dezeen Awards alongside Ginza Ecological Map, Weird Sensation Feels Good – The World of ASMR and Greenwood Rising: Black Wall Street History Center exhibition.

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