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      Kustaa Saksi creates vivid oversized tapestries to explore “reality and illusion”

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      Multidisciplinary designer Kustaa Saksi has unveiled In the Borderlands, an exhibition of jacquard textiles at the Helsinki Design Museum, which includes pieces featuring scenery generated by AI software.

      Conceived as objects that straddle both art and design, Saksi’s large-scale textiles were hung from the ceilings and arranged across various rooms within a gallery at Helsinki’s Design Museum.
      Ideal Fall is a duo of tapestries featuring AI-generated imageryTo create his pieces, the designer uses jacquard weaving – a technique invented in 1804 where patterns are woven with yarn using a loom to create a textile, rather than printed, embroidered or stamped onto fabric.
      Ideal Fall is a series of two oversized tapestries featuring bright and abstract forms depicting waterfall- and plant-style forms.
      Kustaa Saksi also created a series exploring migrainesSaksi created the colourful duo of textiles using AI software, which he instructed to generate images that would depict “ideal” scenes of nature. The designer then picked his favourite suggestions and used the imagery as a stimulus for the tapestries’ patterns.

      “The exhibition explores moments between reality and illusion, which are the starting point for many of Saksi’s works,” said the Design Museum.
      The tapestries were suspended from the ceiling at the Design MuseumMigraine Metamorphoses is another series of textiles featuring similarly bold designs, which Saksi created to refer to the various phases of migraines – intense headaches that the designer has suffered since the age of seven.
      According to the museum, the soft texture of the textiles intends to “mitigate the painful subject matter”.
      Monsters and Dreams is a series informed by stories about hallucinationsOften influenced by the boundaries between dreams and imagination, Saksi’s first-ever tapestry series was also on show at the Design Museum.
      Called Monsters and Dreams, it is characterised by striking patterns that take cues from hallucinations experienced by one of the designer’s family members. These textiles were draped across or hung from the ceiling of a single room with dark blue walls, which had been painted to enhance the pieces’ dramatic theme.

      Stockholm Furniture Fair installation by Gert Wingårdh and Kustaa Saksi

      Saksi has created his pieces in collaboration with Dutch studio TextileLab since 2013.
      “The jacquard technique can be referred to as one of the early precursors to the computer,” said the Design Museum.
      “It was the first mechanised technique which enabled the transfer of information about a particular pattern to a weaving machine with the help of a punched cylinder, to eventually become a piece of textile.”
      The exhibition is on display in Helsinki until mid-OctoberThroughout the gallery, the textiles were illuminated with controlled levels of lighting in order to preserve their appearance, according to the museum.
      In the Borderlands is on display until 15 October as part of the museum’s 150th-anniversary programme. Elsewhere at Helsinki Design Week, designer Didi NG Wing Yin presented a series of amorphous timber furniture while last year’s edition of the event featured projects including plant-based textiles.
      The photography is by Paavo Lehtonen.
      Helsinki Design Week takes place from 8 to 17 September 2023 in Helsinki, Finland. See Dezeen Events Guide for an up-to-date list of architecture and design events taking place around the world.

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      Gallery Fumi marks 15th anniversary with design exhibition informed by biology

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      To celebrate 15 years of Gallery Fumi, the London gallery is hosting the Growth + Form exhibition of “functional art”, featuring sculptural furniture and lighting with organic forms.

      The Growth + Form exhibition includes new works by 16 of the 28 past Gallery Fumi exhibitors, responding to themes of transformation, regeneration and biological growth patterns.
      The Growth + Form exhibition celebrates Gallery Fumi’s 15th anniversaryIt was designed by architectural designer Leendert De Vos and curated by design historian Libby Sellers, who invited former exhibitors back to showcase new pieces in a group display.
      The exhibition title and theme were informed by the On Form and Growth book by Scottish biologist D’Arcy Wentworth Thompson, which analyses the mathematical harmony of growing shapes in biology.
      Pieces in the exhibition were informed by biologyResponding to this biological starting point, furniture and lighting with organic shapes and natural materials can be seen throughout the exhibition.

      Danish artist Stine Bidstrup created a sculptural chandelier titled Light Entanglements, made up of twisting clusters of hand-blown glass.
      Light Entanglements is a chandelier made from hand-blown glassDifferent lengths of painted sticks were combined to create Marmaros Metamorphosis II, a circular decorative wall piece with a textured, tufted-like surface by sculptor Rowan Mersh.
      “Revisiting the very beginning of his career when Mersh used cheap materials to experiment with techniques, in this work using lacquered coloured sticks, he creates forms with the details and skill level he currently attains when using precious materials,” said Gallery Fumi.
      Seating crafted from a single yew log is featured in the exhibitionAs the gallery celebrates its 15th anniversary, Sellers likened its growth to the formation of crystals – the material traditionally associated with 15-year anniversaries.
      “Grown from small particles into a solid form of geometric beauty, crystal is both a poetic metaphor for Gallery Fumi’s own development over the last 15 years and an opportunity to explore the creative affinity between science, art, and the intricate nature of constructions,” said Sellers.

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      “After all, is this not a definition of design? The meeting of knowledge, form-making, material exploration and beauty?” Sellers added.
      “The works are vibrant and active – sprouting, swirling, twisting, turning – transferring material and form into objects of beauty.”
      Wegworth created a crystal salt vase for the exhibitionAlso on show was a wooden cabinet covered in hand-painted shingles by Berlin-based designer Lukas Wegwerth, who also created a crystal salt vase titled Crystallization 183.
      “Crystallization 183 was identified by Sellers as most significant for the exhibition, as not only is the 15-year anniversary traditionally celebrated with crystal, but the process of growing the crystals is a poetic metaphor for Fumi’s growth as a gallery,” Gallery Fumi said.
      The wall sculpture Marmaros Metamorphosis II has a tufted textureOther pieces on display include a sculptural copper floor lamp with a stone base by London design studio JamesPlumb and a chair by British designer Max Lamb crafted from a single yew log.
      “Tapping into the creative affinity between science and art, the pieces created for the show will display fluid organic forms, natural materials and geometric structures,” said Gallery Fumi.
      The exhibition is on display from 7 to 30 SeptemberOther designers showing work include US sculptor Casey McCafferty, Italian designer Francesco Perini, design studio Glithero, Chinese material designer Jie Wu, German ceramic artist Johannes Nagel, Finnish artist Kustaa Saksi, British artist Leora Honeyman, Spanish artist Saelia Aparicio, British artist Sam Orlando Miller, design studio Study O Portable and furniture design studio Voukenas Petrides.
      Gallery Fumi was founded in 2008 by Valerio Capo and Sam Pratt. It has previously showcased work including a Jesmonite lighting collection by British designer Lara Bohinc and a limited-edition bench by JamesPlumb made using medieval dying techniques.
      The photography is courtesy of Gallery Fumi.
      The Growth + Form exhibition is on display at the Gallery Fumi in London, UK, from 7 to 30 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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      Frederik Molenschot presents debut solo sculpture show at Carpenters Workshop Gallery

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      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.
      Buoy Airbag is a sculpture made from recycled BMW airbagsSpread 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.

      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.”
      Gingerblimp is a bronze LED light sculptureMolenschot 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.
      Recycled oak railway sleepers were salvaged to create furnitureRecycled 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.

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      “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.”
      Molenschot also created oversized clothingAccording 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.”
      The exhibition runs until mid-SeptemberKnown 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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      Chicago exhibition by Norman Kelley includes Frank Lloyd Wright building fragments

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      Fragments of buildings by American architects such as Frank Lloyd Wright and Louis Sullivan have been displayed at a new exhibition in Chicago by US design studio Norman Kelley

      A variety of fragments from iconic buildings are on display at the Art Institute of Chicago as part of a permanent exhibition called Architectural Fragments from Chicago.
      Norman Kelley has created an exhibit of architectural fragmentsNorman Kelley mounted multiple pieces of demolished or renovated Chicagoan buildings onto square grey panels measuring eight feet by eight feet (2.4 metres by 2.4 metres) with stainless steel, mirrored trim in the museum’s Henry Crown Gallery.
      The exhibition includes approximately 27 architectural fragments and three lightboxes.
      The exhibit features pieces of notable Chicago buildingsThe pieces displayed are sourced from local, architecturally significant buildings in order to illustrate and preserve Chicago’s built history.

      “Architectural fragments are part of a material history that speaks to past building practices, changing neighbourhoods, and evolving ways of life,” said the studio.
      “Recuperated from demolished or renovated buildings, these pieces of facades or interiors help preserve the memory of architecturally or culturally significant structures long after their physical presence has been erased.”
      Cornices, gates and other architectural stone and ironwork were mounted on grey panelsArchitectural elements such as sections of cornices, wall panels, an elevator grille and a column are displayed.
      The fragments were mounted across the space from a large stained glass window that is a part of the same exhibit.

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      Also among the pieces are an ornate circular ventilator grille and entrance door from Frank Lloyd Wright’s four-storey Francis Apartments, built in 1895 and demolished in 1971.
      Both fragments display Wright’s early use of organic forms, informed by his mentor Louis Sullivan.
      The displays include work by Frank Lloyd Wright and Louis Sullivan. Top right: Facade Panel from the National Pythian Temple by Walter T. Bailey. Top left: Facade Panel from the Jordan Building by John N Coleman. Bottom right: Floor Tiles from the Mecca Apartment Building by Edbrooke and Burnham. Bottom left: Balcony Railing Section from the Mecca Apartment Building by Edbrooke and BurnhamA cast iron cornice section and spandrel panel from Sullivan’s Gage Building, one of his last to be commissioned in Chicago, are also included. Both feature plant shapes and organic, curving lines.
      Works from other architects include a facade panel from the National Pythian Temple by Walter T Bailey and a colourful section of floor tiles from the Mecca Apartments by Edbrooke and Burnham.
      The fragments were “recuperated” from historical buildings. Top left: Frieze Section from the Rothschild Store by Adler and Sullivan. Top Right: Newel Post from the Morris Selz House by Adler and Sullivan. Bottom left: Spandrel Panel from the Rosenfeld Building by Alder and Sullivan.Lightbox installations include a geometric stained glass window from Frank Lloyd Wright’s Coonley Playhouse and the Tiffany Studios 1917 Hartwell Memorial Window that depicts a sprawling landscape of over 48 panels.
      “While this installation represents many works by Chicago’s celebrated modern architects, other fragments come from buildings by lesser-known designers who were equally important in shaping spaces of activism, community, creativity and labor in our dynamic metropolis,” said the studio.
      The fragments have been catalogued as part of the museum’s permanent collection.
      An iron gate and ventilator grille from Wright’s Francis Apartments were includedNorman Kelley is based in Chicago and New Orleans and was founded by Thomas Kelley and Carrie Norman in 2012.
      Elsewhere in Chicago, the studio recently completed an apartment renovation for a diverse collection of chairs and refreshed the lobby of a postmodern skyscraper.
      The photography is by Nathan Keay.
      Architectural Fragments from Chicago is on show at the Art Institute of Chicago permanently. For more exhibitions, events and talks in architecture and design, visit Dezeen Events Guide.

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      Forma is a nomadic design gallery popping up around Berlin

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      Contemporary German furniture designs are displayed alongside vintage pieces at this travelling gallery that multidisciplinary designer Vanessa Heepen has launched in Berlin.

      Rather than having a permanent home, Forma will take over different locations across the German capital.
      Forma’s first exhibition was held in a building next to the Spree riverThe gallery’s inaugural exhibition, titled The Room I Walk the Line, was recently on show on the ground floor of a mixed-use building in Friedrichshain, nestled in between fragments of the Berlin Wall on the banks of the river Spree.
      “To be honest, the area is not where I would typically choose to open a gallery,” Heepen told Dezeen. “But when I first saw a picture of it on a real estate website, I was deeply touched by its huge windows, red columns and by the water, of course.”
      It featured German designers including Nazara Lázaro (left) and Studio Kuhlmann (top right)A trained interior designer, Heepen largely left the space in its found state but worked with her team to create a simple mahogany bar counter and storage unit for the gallery.

      She also asked “soft architecture” studio Curetain to create a white latex screen for the corner of the gallery.
      As part of the exhibition, this served as the backdrop for a tall white spectator shelf by Stuttgart-based Freia Achenbach, along with a graphic white stool by local designer Nazara Lázaro.
      This wiggly coat stand was mong the vintage pieces featuredOther pieces in the exhibition included a pigmented concrete chair by Carsten in der Elst and hanging metallic stars by Studio Kuhlmann, both from Cologne, as well as a translucent shelf by Berlin’s Lotto Studio.
      Forma also sourced a number of vintage pieces from Moho – a 20th-century furniture showroom in Prenzlauer Berg – among them an embossed metal cabinet and a wriggly coat stand.

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      One of Heepen’s main motivations for founding the gallery was to carve out a space for showcasing design-led furnishings in Berlin, which she says is something of a rarity in the German capital.
      “It is a discursive topic, and people have always been unsure about the success of it,” she explained. “After Forma’s first edition, I am glad to say it was hugely successful”.
      Contemporary design pieces included a translucent shelf by Lotto StudioThe designer is currently on the hunt for Forma’s next location and will let the new setting inform her selection of furnishings.
      “I’m always open to something new that occurs within the process,” she said. “I hold on to my vision, but I am also open to taking a detour.”
      Also featured was a pigmented concrete chair by Carsten in der ElsElsewhere in Berlin, Swiss architecture firm Herzog & de Meuron is currently constructing a major new museum for modern art.
      The building’s design came under fire at the end of last year, when it was discovered its complex air conditioning system would result in the venue using four times as much energy as a nearby museum from the 1800s.
      The photography is by Matthias Leidinger. 
      The Room I Walk the Line was on show at Mühlenstrasse 63 in Berlin from 15 June to 15 July 2023. For more exhibitions, events and talk in architecture and design, visit Dezeen Events Guide.

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      “Architectural photography is dominated by empty, glossy, new buildings” says Jim Stephenson

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      Architectural photographer Jim Stephenson explains how The Architect Has Left The Building exhibition at RIBA aims to draw attention to how people use buildings, in this interview.

      Despite taking place at the Architecture Gallery at the Royal Institute of British Architects’ central London HQ, Stephenson told Dezeen that the exhibition is not focused on buildings.
      “The installation is about people watching,” he said. “Although it’s at the RIBA and in the architecture gallery, it’s not really about the buildings – they’re just the backdrop, they’re the stage set really.”
      “We wanted to create a meditative, large scale film piece that was all about how people use (and misuse) space once the architect’s work is done,” he continued.
      The Architect Has Left The Building is an exhibition at RIBAAs the exhibition’s title suggests, the exhibition focuses on how buildings are used after the architect’s work is finished.

      It aims to show buildings in use, in contrast to the majority of architectural photography that often portrays buildings empty, at their point of completion.
      “When I used to work in architecture practices, we used to design everything around people and context,” explained Stephenson. “It felt like everything was dictated by those two things and then when we would get projects photographed we’d ask the photographer to omit those two things.”
      “The buildings were empty objects – sculptures,” he continued. “It always jarred with me, so in our work we focus on people using space as much as possible.”
      The exhibition features the work of Jim Stephenson.The exhibition include numerous photos taken by Stephenson, along with an enclosed screening room, where a film created for the exhibition was played on a dual screen.
      “This film is all about the small interactions that occur in and around buildings – between individuals, groups of people and even between people and the buildings,” said Stephenson. “It’s all about the people!”

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      The film, which was created with artist Sofia Smith and has a soundtrack created by Simon James, contains numerous contemporary buildings from the past 15 years.
      Among the buildings featured are Tintagel Castle Bridge by William Matthews Architects, Tate St Ives extension by Jamie Fobert, Sands End Arts and Community Centre by Mae Architects and London Bridge Station by Grimshaw, which were all shortlisted for the Stirling Prize.
      The exhibition features a film screened on a dual screenThe film makes aims to makes people think about the connections between buildings and how people are connected to them.
      “Watching Sofia make visual links between buildings that I hadn’t previously considered to have much in common was fascinating,” explained Stephenson.
      “There’s a point in the film where we transition from Sands End Community Centre to Tintagel footbridge and it’s seamless – from a community centre in West London to a bridge over the sea in Cornwall!”
      “And at London Bridge train station, Simon recorded not just the ambient sound that everyone can hear, but he also recorded the inner guts of the building with contact mics, as well as the sound in the electromagnetic spectrum,” he continued. “All those sounds get layered up in the show and I can’t go through that station now without thinking about them.”
      It also features photos taken by Jim StephensonStephenson hopes that the film will demonstrate how people improve architectural spaces and how they are recorded.
      “The history of architectural photography is dominated by empty, glossy, new buildings, photographed before people have come in,” said Stephenson.
      “I think there was a fear amongst architects that people ‘mess up their building’ and photographing them empty somehow showed the architecture in a more pure and distilled way,” he continued.
      “I think that’s mad. If the people you designed the building for are ‘messing it up’ then maybe there’s something wrong with the building? I’m half joking, but I’ve never documented a space that wasn’t improved by people, or at the very least a sign of life.”
      One of the UK’s best-known architectural photographers, Stephenson co-founded film production studio Stephenson& with Smith. Recent projects photographed by Stephenson include a wood-lined community space in east London, a rammed-earth yoga studio to the gardens of Somerset hotel and a rolling bridge in London.
      Recent buildings captured on film by Stephenson& include a visitor centre at the UK’s largest sawmill and a school theatre by Jonathan Tuckey Design in London.
      The photography is by Agnese Sanvito, unless stated. The film is by Jim Stephenson and Sofia Smith with soundtrack by Simon James.
      The Architect Has Left The Building is at RIBA in London until 12 August 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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      SFMOMA furniture exhibition features “conversation starters”

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      Designers including Bethan Laura Wood and Maarten Baas have contributed a range of “sometimes jarring” chairs and lighting to an exhibition at the San Francisco Museum of Modern Art.

      Called Conversation Pieces: Contemporary Furniture in Dialogue, the exposition at the San Francisco Museum of Modern Art (SFMOMA) features 45 pieces of furniture and decor “that prioritise meaning and material choice over function and practicality”.
      Jay Sae Jung Oh presented an otherworldly chair”The works on view are sometimes jarring, often bold and always conversation starters,” said the museum.
      Drawn entirely from the SFMOMA collection, some of the pieces were chosen purely for their alternative appearance, such as an otherworldly leather and plastic armchair by South Korean designer Jay Sae Jung Oh.
      Uneasy Lies the Head that Wears the Crown was designed by Germane BarnesOther pieces of furniture were selected for their commentary on social issues. For example, a piece by American architect Germane Barnes is a porch chair topped with an oversized backrest shaped like a milled wood comb.

      Called Uneasy Lies the Head that Wears the Crown, the piece was described by Barnes as a representation of Black hair, meant to highlight how Black hair “is often policed and frowned upon instead of celebrated as it should [be]”.
      Maarten Baas’ contribution features a bright blue clay chairDutch designer Baas and Italian architect Gaetano Pesce were also included in the exhibition.
      Baas created a bright blue chair covered with clay while Pesce contributed an organic-looking fabric and resin chair called Seaweed, which resembles clumps of tangled algae.
      A series of lighting designs accompanied the furniture. British designer Bethan Laura Wood created a spindly glass and metal chandelier called Criss Cross Kite.
      Gaetano Pesce contributed a fabric and resin chair called Seaweed”A chandelier is normally a very fancy-pantsy centre light,” said Wood, reflecting on her work.
      “I definitely want to play with this idea of fantasy within the thing.”
      Unique Girl is a playful lamp by Katie StoutAmerican designer Katie Stout’s ceramic lamp Unique Girl was also on display. The lighting piece is characterised by an abstract figure that the designer said is meant as a commentary on domesticity and femininity.
      All of the furniture in the exhibition was arranged across a deep red carpet interspersed with amorphously shaped plots of floor space to form a meandering pathway.

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      “Sparking dialogue throughout the gallery, Conversation Pieces presents chairs and lamps that surprise and garner attention unapologetically,” said SFMOMA.
      Last year, the San Francisco museum showcased an exhibition of work by architect Neri Oxman, while it recently became the first museum to acquire a module from the Japanese Nakagin Capsule Tower.
      The exhibition was curated within a winding spaceConversation Pieces: Contemporary Furniture in Dialogue was on display at the SFMOMA from 20 August 2022 to 25 June 2023. See Dezeen Events Guide for an up-to-date list of architecture and design events taking place around the world.
      The images are courtesy of SFMOMA.

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      Asteroid City exhibition immerses visitors in Wes Anderson’s Americana film sets

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      An exhibition of the 1950s sets, props, miniature models, costumes and artwork used in Wes Anderson’s latest film Asteroid City has opened at 180 The Strand in London.

      The exhibition was designed to immerse visitors in the film’s fictitious world – a desert town in 1950s America famous for its meteor crater and celestial observatory.
      The exhibition is on display at London’s 180 The StrandIts aim was to give visitors insight into the “1950s Americana world the film is set in”, said Asteroid City associate producer Ben Alder.
      Asteroid City was filmed on flat farmland in Spain, with the buildings made for the film set up to appear like a town.
      The exhibition features large sets”Everything you see in the film was physically built and laid out in a way that gave the actors and crew the sense of living in this real town,” Alder told Dezeen.

      “The exhibition is a great way for people to see how much work went into all the elements of the film, like the costumes, because you can spend more time looking at how they are made and how much care went into them.”
      Film sets used in the Asteroid City movie are on displayPieces in the exhibition are spread across three main spaces, with audio clips and parts of the film projected onto walls referencing scenes relevant to the nearby displays.
      “The idea was to use the largest open space for the sets to give people the sense of how big they were on the film, and you can imagine how massive our Asteroid City town was,” said Alder.
      Costumes and props are on display”Then there’s another space that’s a more traditional gallery-type curation where you can see smaller objects and props, going into the details of the characters,” Alder continued.
      Mimicking the exterior of the cafe featured in the film, a temporary wooden structure decorated with menu lettering and a desert scene spans the entrance of 180 The Strand.

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      Sets displayed in the exhibition include white wooden residential shacks, a train carriage and a bathroom scene.
      Other life-sized scenery props include telephone booths, billboard posters and humourous vending machines that dispense martinis and bullets in the film.
      The exhibition provides a close-up view of the Asteroid City film props”There are moments where visitors are invited to be in the sets and interact with them,” said Alder.
      “Not only can visitors see all the pieces from the film really closely but they can go inside some of the sets – they can sit inside the train compartment, recreate the scene with [actor] Scarlett [Johansson] in the window, or go into the telephone booth – which is something really special that not a lot of exhibitions have.”
      Visitors can explore a desert setSome of the character costumes are arranged together with set pieces to recreate scenes from the film.
      Also on display are puppets made by Andy Gent, who previously created puppets for Anderson’s films Isle of Dogs and Fantastic Mr Fox, and a series of glass flowers used in a stop-motion animation sequence where they transition from blooming to wilting.
      The Asteroid City exhibition showcases many details from the filmThe exhibition ends with a recreation of a luncheonette featured in the movie, where visitors can order food and drink.
      It has a 1950s-style decor, with stools lined up along the service bar, pastel-coloured blinds and the image of a desert landscape framed inside fake windows.
      A 1950s-style cafe is at the end of the exhibitionAsteroid City is out in cinemas now.
      Anderson is known for his distinctive film aesthetic, typified by retro influences and pastel colours. Interiors that have been informed by the director’s style include a pastel-yellow breakfast cafe in Sweden and a bottle shop in Los Angeles with mid-century influences.
      The photography is courtesy of Universal Pictures and 180 Studios.
      The Asteroid City exhibition is on display at 180 The Strand in London from 17 June to 8 July 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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