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    Works by Fernando Laposse and others showcased in beachside Mexican pavilion

    Works by Mexican designers Fernando Laposse and Claudina Flores were among those shown in a remote seaside house near Puerto Escondido, Mexico, during Mexico Design Fair.

    Dozens of works were placed throughout the house, called Casa Naila, which was designed by Mexican architect Alfonso Quiñones – who used techniques gleaned from his work with Japanese architect Tadao Ando on the nearby Casa Wabi arts centre.
    Mexico Design Fair took place in a seaside home made up of pavilions. Photo by Jaime NavarroCasa Naila’s concrete foundations, wooden structure and thatched walls and ceilings were at risk because of the erosion, so their was turned into a pavilion and used for years as a location for the invite-only fair.
    According to the fair, the purpose of the exhibition was to execute a “long-term vision that foresees better conditions for the design disciplines in the country through critical dialogue, production and quality exhibition contents”.
    Furniture was displayed throughout the house’s multiple structuresArranged throughout the different pavilions of Casa Naila were furniture and decor objects.

    As visitors entered the structure there was an arrangement of colourful stools by Oaxaca City-based designer Jaime Levin, with sculptural legs, woven nylon tops and multiple seats on some of the stools.
    Directly across, in the kitchen area, was an arrangement of glassware by Mexican company Xauixe – noted for its use of recycled glass in its products and recycled cooking oil used to heat its ovens.
    Glassware from Xauixe was featuredThe other furniture installations filled the ground and second levels of the other two pavilions.
    These included works by Mexico City and London-based designer Laposse, who uses materials like agave fibres to create material with applications for rural communities. His works included the small, white and “hairy” Pup bench and wall panels with marquetry made from corn husks.
    Laposse was named Designer of the Year award from the fair.

    The programming included a pyrotechnic installationArranged in tandem with Laposse’s pieces were intricately constructed cabinets by Guadalajara-based designer Claudina Flores, who recently featured in our round-up of design studios in Guadalajara.
    The show also included a colourful set of outdoor metal furniture by César Ponce and Carlos Torre Hütt, wooden chairs draped with plush leather cushions by Brooklyn studio Prime Project, as well as floor rugs by Indian firm Odabashian with designs by American designer Little Wing Lee and Argentinian Pilar Zeta.

    Ten noteworthy exhibitions from Design Week Mexico 2023

    On the beach was a spindly structure by artist and producer David Sánchez, which became a pyrotechnic installation at the end of the one-day showcase.
    Many of the guests and designers were housed in Hotel Escondido, an hour’s drive north from the fair’s location.
    Mexican designer Fernando Laposse showed his material experimentations and was awarded the Designer of the Year honour. Photo by Jaime NavarroSelect programming took place in the architecturally significant homes around Hotel Escondido – including the temple-like Casa Monte by Carlos Matos.
    At Casa Malandra, a beachside home designed by Taller Alberto Calleja, visitors were treated to traditional tamales made in a massive basalt oven designed by artist Julio Martinez Barnetche.
    A massive basalt oven was shown as part of the satellite programmingWhile the fair showcased a wide array of designers, some of the participants commented on the remoteness of the venues, and the invite-only status of the guests meant that the participants were limited but that the visitors did become tight-knit as the programming went on.
    Other small-format design fairs in Latin America included a showcase in a monument in Santo Domingo, Dominican Republic organised by Galerie Philia last year.
    Photography by Gerardo Maldonado unless otherwise stated. 
    Mexico Design Fair took place from 24 to 26 May in Puerto Escondido. For more fairs, exhibitions and talks in architecture and design visit the Dezeen Events Guide.

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    Crafting the Present reveals manufacturing techniques behind mid-century furniture classics

    The 3 Days of Design exhibition from Danish furniture brand Fredericia reveals how iconic designs by Hans J Wegner and Børge Mogensen have been subtly adapted in line with today’s standards.

    On show at the Fredericia headquarters in Copenhagen, Crafting the Present showcases the craft processes, tools and makers behind the brand’s furniture.
    Crafting the Present is on show for 3 Days of DesignCurated by designer Maria Bruun, the exhibition shows how designs including Wegner’s Ox Chair and Mogensen’s Spanish Chair have been carefully reworked in line with modern manufacturing technologies and environmental standards.
    Rasmus Graversen, CEO of Fredericia, believes it is important for design classics to move with the times.
    The exhibition reveals the processes behind designs including Hans J Wegner’s Ox Chair”We sometimes need to challenge the way we do things; something that was good 50 years ago isn’t necessarily good now,” he explained during a tour of the show.

    “If you don’t have a culture of craft in your company, you might think the way that something was done in the past is the only right way.”
    Leather upholstery techniques are showcased in the exhibitionGraversen, who is also the grandson of brand founder Andreas Graversen, wanted the exhibition to highlight how this culture of craft is at the heart of Fredericia’s approach.
    The company has a specialist upholstery workshop in Svendborg, south Denmark, a facility that was established by Erik Jørgensen in 1954 and acquired by Fredericia in 2020.
    The show includes live demonstrations from makersThe exhibition includes live demonstrations from both the workshop production team and from artisans at leather manufacturer Tärnsjö Garveri.
    Crafting the Present also showcases the tools used in these production processes, alongside models that reveal how the furniture pieces are assembled.
    “We wanted to showcase the talented craftsmen and women whose hands touch every piece of furniture,” Bruun said.
    “Here, craft is not a marketing gimmick. It is not a layer added onto the furniture afterwards. It is the heritage of this company and has an influence on everything.”
    Tools are presented alongside models”All of the tools you see are used for real,” added Graversen. “Nothing was picked just because it’s pretty.”
    “These are all used in the actual production; it’s an extraordinary experience to see what happens.”
    Rasmus Graversen, CEO of Fredericia, wanted to celebrate the brand’s culture of craftTextile curtains suspended from the ceiling provide a scenography that divides the space into different sections.
    Metal trolleys create multi-level displays, while larger models are raised up on trestles.
    The Maria Bruun-designed Pioneer stool provides seatingThe Pioneer, a design developed by Bruun for Fredericia in 2023, is also featured.
    Dotted through, the stool provides seating so that visitors can spend time watching the artisans at work.
    Crafting the Present is on show for of 3 Days of Design, which takes place in Copenhagen from 12 to 14 June. For more events, exhibitions and talks in architecture and design visit Dezeen Events Guide.

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    Inga Sempé celebrates the joyful mess of everyday life in The Imperfect Home

    A full-size home interior installed inside the Triennale Milano showcases furniture and homeware by French designer Inga Sempé alongside dirty dishes, hanging laundry and personal trinkets.

    The Imperfect Home is a retrospective exhibition showcasing over 100 objects developed by Sempé since she founded her Paris-based studio back in 2001.
    The Imperfect Home features over 100 objects designed by Inga SempéDesigned with interiors office Studio A/C, the installation is a 1:1 scale home with seven fully furnished rooms and spaces. But, as the title suggests, this is no show home.
    According to curator Marco Sammicheli, the aim was to create the sense that the house was “lived in right up until moments before the exhibition opened”.
    The pleated PO/202 floor lamp, launched in 2002, features in the living roomAs a result, spaces are filled with traces of domestic life. Bedsheets are crumpled, candles are half-burned. There is even a clump of hair left on the bathroom sink.

    “I wanted to build a house because I don’t like exhibitions where objects and furniture are put on high bases, like those for sculpture, demanding to be looked at as priceless masterpieces,” Sempé told the Triennale Milano magazine.
    “I find that quite boring, and I don’t need to be looked at as if I were an artist; being an industrial designer is enough for me,” she said.
    The Pinorama pinboard, launched by Hay, showcases personal objectsThe living room of the Imperfect Home features one of Sempé’s earliest designs, the pleated fabric PO/202 floor lamp with Cappellini, alongside newer works like the Colorado rug launched by Nanimarquina earlier this year.
    The kitchen features the Column cabinet fronts for Reform, along with smaller objects like the Collo Alto cutlery from Alessi, the characterful Filigraani plates from Iittala and the playful Guichet clock from Moustache.
    Other details designed by Sempé include tiles, door handles, lighting, mirrors and bathroom fittings – her outdoor shower for Tectona is one of the standout additions.
    Toothbrushes and a clump of hair give a lived-in feel to the bathroomThe exhibition reveals the extensive scope of the designer’s output over the past 23 years. There are only a few pieces not designed by Sempé, most notably a 195os toilet by Gio Ponti and a 1970s basin by Achille Castiglione.
    Other focal points include pieces by artists Mette Ivers and Saul Steinberg.
    Personal objects are dotted throughout to give a sense of the house’s owner. For instance, the Pinorama pinboard from Hay displays jars of coins, postcards, and small models of a bird and robot.
    Another example is the study, where a map, ink and rolls of tapes are scattered over the desk.
    Sempé’s outdoor shower for Tectona also features in this room”I want it to look lively, as if the owner has just left to go and buy some bread, and has had a stroke or got hit by a car,” said Sempé.
    “The visitors should be like the police visiting the house to find his ID. So there should be crumbs, a couple of remote controls on the sofa, some invoices on the desk, leftovers in the fridge. But the owner does not necessarily need to be dead. He might just have a broken ankle. So we might find some socks.”
    The Imperfect Home is on show at Triennale Milano from 15 April to 15 September 2024. See Dezeen Events Guide for more architecture and design events around the world.

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    Hemingway Design and James Shaw create furniture from recycled clothes for Traid

    Local studio Hemingway Design collaborated with designer James Shaw to transform a London store interior for charity retailer Traid, which features colourful furniture created from leftover second-hand clothes.

    Hemingway Design renovated Traid’s Shepherd’s Bush branch as part of a wider rebrand for the retailer to mark its 25th anniversary, including its visual identity.
    Hemingway Design has redesigned the Traid store in Shepherd’s Bush, LondonTraid sells donated clothing and accessories in 12 stores across London to fund global projects that tackle the issues caused by producing, consuming and wasting textiles.
    As part of the Shepherd’s Bush store refurbishment, Hemingway Design worked with Shaw to create furniture out of poor-quality clothes salvaged from the Traid sorting warehouse that the retailer deemed unsellable.
    James Shaw created furniture and lighting made from recycled clothesShaw, whose practice centres on repurposing waste materials, created curved pendant lighting from the leftover clothes, which were shredded back to fibres and combined with a plant-based binder.

    The designer applied this method to make the rest of the furniture. One piece is a low-slung bench for trying on shoes, upholstered with a yellow, green and blue patchwork of old denim jeans and corduroy trousers.
    Shaw designed the bench’s lumpy legs in his trademark extruded HDPE plastic, finished in the same colours as the patchwork seat.
    This included changing room door handlesElsewhere in the store, boxy pinewood changing room doors feature multicoloured handles created from the leftover clothes, defined by a speckled appearance thanks to the combination of shredded fibres.
    Silver scaffolding previously used for a different purpose in the original shop layout was used to create a “staff picks” clothes rail positioned at the front of the store.
    The designer combined shredded fibres with a plant-based binder. Photo by James Shaw”To align with Traid’s manifesto of reducing waste and prolonging the lifespan of items, a fundamental objective of the refurb was to reuse and repurpose existing fixtures and fittings within the store where possible,” explained Hemingway Design.
    British designer Charlie Boyden created chunky pastel-hued plinths from other offcuts and materials salvaged from the strip-out. They display merchandise in the shop window illuminated by more of Shaw’s clothing-based pendant lighting.
    Existing silver scaffolding was used to form a “staff picks” clothes railSwirly linseed-based oil-stained pine also characterises the geometric cash desk, fitted with an accessible counter and positioned in front of an existing timber stud wall painted in bold pink.
    Next to the counter, bespoke bright green Unistrut shelving creates additional space for hanging clothes and displaying shoes.

    Previously unrecycleable clothing made into Fibers Unsorted textile

    According to Hemingway Design, Traid has put 228 million garments back into use to date, saving 622,059 tonnes of carbon dioxide and 105.3 million cubic metres of water.
    “The charity retailer maximises the potential of the clothes you no longer wear, demanding change from a throwaway, fast fashion culture that continues to destroy this planet,” said the studio.
    Charlie Boyden designed display plinths using off-cutsShaw recently applied his extruded plastic designs to another store renovation in central London for shoe brand Camper, which includes a jumbo foot sculpture.
    Hemingway Design previously created a minimalist but colourful logo to celebrate 100 years of the Dreamland amusement park in Margate, Kent.
    The photography is by French & Tye unless stated otherwise. 

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    V-Zug unveils neutral-toned showroom during Milan design week

    Swiss homeware brand V-Zug has opened its inaugural Milan showroom, combining soft hues and natural materials with high-tech appliances, as captured in this video produced by Dezeen.

    Called V-Zug Studio Milan, the showroom was designed by Italian architect and interior designer Elisa Ossino to encapsulate a “poetic simplicity” through blending objects crafted from natural materials with appliances featuring reflective surfaces.
    [embedded content]V-Zug Studio Milan has opened its doors during Milan design week
    The studio showcases V-Zug’s homeware products and kitchen appliances, such as ovens, cooktops and steamers, which are contrasted by furniture pieces created by Ossino in collaboration with artist Henry Timi.
    According to V-Zug’s global interior art director Gabriel Castelló Pinyon, the open-plan interiors are designed to evoke a “sense of hospitality” for its visitors.

    V-Zug’s minimal Milan showroom showcases its home appliancesThe space is characterised by a neutral colour palette of soft hues, which create a subtle contrast with the materials incorporated throughout the space, such as sculpted stone and mirrored surfaces.
    The showroom is flooded with ample natural light emanating from large glazings, while an off-white monolithic staircase with large circular openings cuts through the space.
    The showroom features sculptural objects and artworks by Ossino and TimiOverlooking the Piazza San Marco, the studio marks the company’s flagship showroom located in Italy, following the recent openings of its studios across Germany, Austria and Australia.
    V-Zug Studio Milan is open to visitors from Monday to Friday during this year’s Milan design week.
    The showroom’s open-plan interiors are defined by a soft colour paletteIn addition to hosting a series of talks throughout the week, V-Zug has also created a sculptural installation titled Time and Matter at Pinacoteca di Brera, which further explores the relationship between human experiences, design and technology.
    See our Milan design week 2024 guide on Dezeen Events Guide for information about the many other exhibitions, installations and talks taking place throughout the week.
    Partnership content
    This video was produced by Dezeen for V-Zug as part of a partnership. Find out more about Dezeen partnership content here.

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    Uchronia founder designs own home as “love letter to French craft”

    Glossy walls, ruched curtains and oversized flower-shaped cushions characterise this eclectic 1970s-style Paris apartment, designed and owned by Uchronia founder Julien Sebban.

    Called Univers Uchronia, the apartment is in the city’s 18th arrondissement, close to the Uchronia office – a Parisian architecture and interiors studio known for its bold application of shape, colour and reflective surfaces.
    Julien Sebban designed Univers Uchronia as his homeSebban designed the dwelling as his home, which he shares with his husband and Maison Royère artistic director Jonathan Wray.
    The Uchronia founder created the apartment as an extension of his studio – “it’s truly a manifesto of our universe,” he told Dezeen.
    Colourful interiors anchor the apartmentSebban worked with local studio Atelier Roma to create all the walls and ceilings, which are either lacquered and glossy or made of matte pigmented concrete, respectively reflecting or absorbing light throughout the day.

    Finished in hues ranging from cloud-like pale blue to lemony yellow, the walls and ceilings complement the poured-in-place resin floor that spans the apartment and features a bold motif that “waves and moves in relation to the architecture”.
    A metallic island features in the open-plan kitchenThe home is anchored by a predominantly pink living space, which includes Uchronia-designed pieces such as low-slung interlocking coffee tables made from walnut burl and orange resin.
    Translucent and gathered pink curtains were paired with a geometric vintage bookshelf and a blocky but soft sofa finished in purple and orange.
    A bespoke onyx dining table was created for the home”The apartment is very colourful with ’60s and ’70s inspirations and a mix of our contemporary pieces and vintage objects,” said Sebban.
    In the open-plan kitchen and dining room, a veiny Van Gogh onyx table was positioned next to a metallic kitchen island, illuminated by a blobby seaweed-shaped table lamp.
    Ornamental jellyfish decorate the home officeA portion of the otherwise orange wall was clad with tiny, mirrored tiles. Reflected in the gleaming ceiling, the tiles have the same effect as a shimmering disco ball.
    Opposite the dining area is Sebban and Wray’s home office, characterised by a bright orange, built-in day bed topped with silk flower-like cushions and a wave-shaped backrest.
    The dwelling’s bathrooms follow a similar designAbove the bed, ornamental jellyfish were suspended like planets against a constellation of gold stars, which decorate the ombre orange and yellow wall that nods to the colour-drenched interior of the city’s Cafe Nuances – also designed by Uchronia.
    The dwelling’s bathrooms follow a similar design. Accents include dusty pink alcoves and ceramic tiles depicting underwater scenes, as well as a lily pad-shaped rug and a mirror resembling a cluster of clouds.

    Ten self-designed homes that reflect the unique styles of their owners

    “The apartment defines the codes we have tried to develop at Uchronia over the last four years,” concluded Sebban.
    “It’s a play on colours, textures and materials, and a love letter to French craft.”
    Univers Uchronia is “a love letter to French craft”Uchronia was named emerging interior designer of the year at the Dezeen Awards 2023. The studio previously renovated a Haussmann-era apartment for a pair of jewellery designers with multifaceted furniture pieces created to mirror the appearance of precious stones.
    Various architects have designed their own homes, such as John Pawson, who created this minimalist second home in the Cotswolds in the UK.
    The photography is by Félix Dol Maillot. 

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    Gallery Collectional exhibition spotlights contemporary Asian craftsmanship

    Gallery Collectional, a collectible design gallery in Dubai, has presented its inaugural exhibition featuring furniture and lighting crafted by seven Asian designers.

    For Urban Fabric Series 001, Gallery Collectional invited seven designers to create designs informed by the urban settings from which they hail, including Tokyo, Seoul and Hangzhou.
    The Urban Fabric exhibition included recycled plastic seats by Kuo Duo. Photo by Mario Tsai StudioCurated by Yoko Choy, the collectible design exhibition features 28 pieces that showcase the diverse range of crafts honed by the designers.
    It includes 3D-printed chairs, woven sculptures, metal light sculptures and furniture made from reclaimed architectural elements.
    Teo Yang repurposed remnants of traditional Korean houses. Photo by Mario Tsai Studio”Since the inception of Gallery Collectional, its desire has always been to create a multicultural, cross-functional platform that fosters disruptive and worldly conversations across design and art,” the gallery said.

    “The 28 artworks commissioned and created for this inaugural series epitomise the juxtaposition between industrial precision and artisanal finesse, the nuanced interplay between vulnerability and resilience, and the seamless fusion of rationality and emotion,” Gallery Collectional continued.
    “They delve into the dynamic interplay of light and shadow, the relentless passage of time, and the subtle balance between ruggedness and sophistication, encapsulating the essence of contemporary urban life and inspiring our collective vision for the future.”
    Cutting Lines is a collection of 3D-printed chairsKorean designer Teo Yang used remnants of traditional Korean houses known as hanoks – including glass, rubble, marble and veneer – to create a series of furniture pieces.
    The collection, named Remaining Things, includes a room divider made from hanok panels and a table made from a repurposed column with a metal base and glass tabletop.

    StudioTwentySeven opens “monumental” flagship gallery in Tribeca

    Koren design studio Kuo Duo, founded by Hwachan Lee and Yoomin Maeng, is showcasing a pair of chairs with a matching ottoman made from recycled plastic.
    The Kerf Plastic seats were designed to showcase the “untapped potential” of the material to form three-dimensional objects, according to the duo.
    The Sparks pendant light moves from side to sideThe exhibition also featured the 3D-printed Cutting Lines chair by Korean designer Kwangho Lee, with textured surfaces inspired by the act of tying knots.
    Sparks is a pendant light created by Chinese designer Mario Tsai, comprising brass chimes that sway and collide.
    A woven sculpture by Tiffany Loy hangs from the ceiling”Within this kinetic light installation, the transformative power of collision becomes palpable,” said Gallery Collectional. “It is as if the energy from each collision is harnessed and channelled, manifesting as both visible light and audible sound.”
    Also in the Urban Fabric series were tables made from white, green and pink onyx by Japanese designer Kensaku Oshiro, neon light artworks by Tokyo-based Studio Swine and a pair of woven silk and cotton sculptures by Singaporean artist Tiffany Loy.
    Gallery Collectional is located in Dubai. Photo by Mario Tsai StudioOther furniture showcases that have recently been featured on Dezeen include a furniture exhibition in a converted Bogotá townhouse and StudioTwentySeven’s newly opened flagship gallery in Tribeca.
    The photography is courtesy of Gallery Collectional.
    Urban Fabric is on show at Gallery Collectional in Dubai from 2 to 31 March 2024. For more events, talks and exhibitions in architecture and design visit Dezeen Events Guide.

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    Children in social housing “sleeping on a blanket on a concrete floor”

    Increasing numbers of people in social housing are living in inhospitable conditions because they are unable to afford even basic furniture and flooring, Dezeen reports as part of our Social Housing Revival series.

    In the UK, social-rented homes are usually handed over to new residents in a sparse state – lacking basic elements of decoration and furnishings, as well as essential appliances.
    As the cost of living continues to rise and the availability of crisis-support services diminishes, a growing number of people are unable to afford to furnish these homes, meaning they are sometimes forced to live in a harsh environment for months at a time.
    Top: before – many UK social-housing residents live with furniture poverty. Above: after – London charity Furnishing Futures makes new interiors for women who have fled domestic abuse”For the families who we work with, the point that is most distressing is the void condition – the homes are given and [social landlords] don’t bother painting the walls, and there’s absolutely no flooring down,” said Emily Wheeler, founder and CEO of Furnishing Futures.
    “Most people over time can manage to get some furniture together that’s gifted to them from the local church or friends or family or whatever, but it costs thousands and thousands of pounds to put flooring down, even in a one-bedroom flat.”

    London charity Furnishing Futures was recently established to address the issue among women fleeing domestic abuse, creating interiors to a high standard using furniture donated from brands.
    Emily Wheeler founded Furnishing Futures after realising that the poor condition of social housing was driving women back to abusive partners. Photo by Penny WincerDomestic-abuse survivors and people leaving care or who were previously homeless are particularly at risk of furniture poverty since they are less likely to have items to bring with them.
    Wheeler said Furnishing Futures is seeing increasing demand for its services as more people come under financial pressure.
    “Initially we were only working with women who were in receipt of benefits or experiencing severe poverty or destitution,” explained Wheeler.
    “But now we’re working with families who are using the food bank but the woman is a midwife, or she’s a teaching assistant, or she is a teacher, and that is new.”
    The charity increasingly encounters families living in destitute conditionsSometimes the conditions the charity witnesses are shocking, Wheeler told Dezeen.
    “People are experiencing real hardship,” she said. “We’ve frequently come across people who have no food, no clothes, no shoes for their children.”
    “The kids are sleeping on a blanket on a concrete floor – there’s nothing in the flat whatsoever,” she continued. “And those people might even be working as care assistants, or teaching assistants. So it’s really, really difficult at the moment for people.”
    Furnishing Futures seeks to deliver interiors that “look like show homes”. Photo by Michael BranthwaiteAccording to the campaigning charity End Furniture Poverty, more than six million people in the UK lack access to essential furniture, furnishings and appliances – including 26 per cent of those living in social housing.
    Only two per cent of social-rented homes in the UK are let as furnished or partly furnished, the charity’s research has found.
    Wheeler is a trained interior designer who formerly worked in child safeguarding.
    The charity decorated and furnished 36 homes in 2023. Photo by Michael BranthwaiteShe was prompted to set up Furnishing Futures after discovering that many women in social housing who had left dangerous homes were driven back to their abuser by poor living conditions.
    “When women were placed in new housing after having escaped really high-risk situations, they sometimes felt that they had no choice but to return because they couldn’t look after their children in those conditions – there’d be no fridge, no cooker, no washing machine, no bed, no curtains on the windows,” she explained.
    “People are expected to go to those places at a time of great trauma and distress, and recover, but those places are often not conducive to that because of the design and the environment.”
    Wheeler said the interiors industry could be doing more to have a bigger social impact. Penny WincerThe charity overhauled 36 homes in 2023, helping 99 women and children. It takes a design-led approach with an emphasis on finishing interiors to a high standard.
    “We professionally design them and they look like beautiful homes – they look like show homes when they’re finished,” Wheeler said.
    “And the reason we do that is because it’s really important that the women feel that they have a beautiful home and they feel safe there, that they feel for the first time that someone really cares about them,” she added.
    “It also supports the healing and the recovery journey for those women.”

    Social housing means “I can breathe again” say residents

    To help ensure quality, the charity only works with new or as-new furniture. It works with brands to source items that would otherwise be sent to landfill – usually press samples or items used at trade shows, in showrooms or on shoots.
    Donating partners include Soho Home, BoConcept, Romo Fabrics and House of Hackney.
    Wheeler is keen for Furnishing Futures to expand beyond London but the charity is currently held back by limited warehouse capacity and funding.
    “If we had more money and more space we could help more people, it’s as simple as that, really,” she said.
    The charity relies on donations from furniture brandsThe charity continues to seek donations from brands, particularly for bedroom furniture and pieces for children.
    As well as calling for social-housing providers to let their properties in a better state, Wheeler believes the design industry could be doing more to help people facing furniture poverty.
    “I do think that where the industry could catch up a little bit is working with organisations like ours,” she said.
    For example, charities are unable to take furniture lacking a fire tag – which tend to be removed – so imprinting this information onto the items themselves would make more usable.
    The charity is often in need of items for children’s bedrooms. Photo by Michael BranthwaiteIn addition, donating excess items as an alternative to sample sales could be a way to reduce waste with much greater social impact, she suggests.
    “There’s probably millions of people across the country living without basic items and yet there’s massive overproduction, but the waste isn’t necessarily coming to people who actually need it,” Wheeler said.
    “There are things that the industry could be doing that will create a huge social impact very easily.”
    The photography is courtesy of Furnishing Futures unless otherwise stated.
    Illustration by Jack BedfordSocial Housing Revival
    This article is part of Dezeen’s Social Housing Revival series exploring the new wave of quality social housing being built around the world, and asking whether a return to social house-building at scale can help solve affordability issues and homelessness in our major cities.

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