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We talk a lot about designing for the senses these days; about human engineering, ergonomics, people-centric products. It’s particularly a hot topic when it comes to looking at the modern working environment. If today’s office is to compete with home, it needs to bring similar feelings of comfort, but promote productivity and collaboration at the same time. Designers and architects are responding with increased attention towards auditory comfort, finely-tuned lighting, and cosseting touches via texture, color and shape. 

We talk a lot about how the success of an interior leans on the layout of its walls, doors and windows, and maybe the shade of paint or degree of cushioning on the chairs placed inside. The truth is, it will probably live or die by the quality of its light.

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Essential design. I’ve found myself writing this phrase a lot lately. It can be applied to many new products put out by furniture brands who are aware of their role in preserving the environment’s resources, and of the changing, more mindful market. It has become in itself an aesthetic direction that acknowledges the need for restraint. It is performance with no excess, technology that’s invisible; functionality with economy of form. Today, if we are putting more stuff out there, it needs to justify its existence more than ever. 

Global office furniture brand Haworth's concept of inclusion stretches well beyond simply accommodating disabilities, rather it involves a far-reaching philosophy that puts the well-being of all users in primary focus.

Next month ICFF and WantedDesign Manhattan, New York’s concurrent design fairs that form the backbone of the NYCxDESIGN Festival, come together under the same leadership for the first time. Already under the same roof –that of the Jacob K. Javits Convention Center– since 2021, ICFF, the long-standing platform for established American design and its international peers, and WantedDesign Manhattan, the platform for independent and emerging talent at home and abroad, are now co-ordinated by WantedDesign’s founders, Odile Hainaut and Claire Pijoulat. Integrating agendas and taking the fairs in a new interactive direction, they are looking to unify the vision while retaining the essence and purpose of each.

What’s more important, work or wellbeing? Should we have to choose? A ‘good work ethic’ –as in placing work before all else– used to be a badge of honour, certainly among generation X-ers who grew up with post-war parents and a recession to wrestle with just as they were getting going on working life in the 1990s. Today’s economic situation might present similar wrangles in securing a wage among their off-spring, so-called generation Z, but it is nevertheless this emerging set of workers that are teaching the rest of us that work at any cost –particularly that of our mental and physical wellbeing– should not be a life ambition.

Opulence comes at a cost and it’s not just the sort that will leave your purse lighter. Exotic woods dent, gold tarnishes, marble stains and chips. But it doesn’t stop us hankering after the materials we perceive to be effortlessly elegant and replete with character. Okay, so we also like a bit of polish and precision in our building materials these days, alongside durability and ethical manufacture, ease of installation and maintenance alongside hygienic surfaces. But what’s often been missing from modern engineered materials is old-fashioned warmth and poetry. Is it too much to ask for both?

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With the political, economic, social and ecological rollercoaster seemingly careering out of control, we are discovering what might be considered by some as the blooming obvious but by much of the business world who often like to box consumers, a hurdle: we humans are multifaceted and changeable. For Baiju Shah of Accenture Song, the creative arm of the consulting conglomerate, the term life-centric is replacing customer-centric, as people grapple to focus in on themselves, their health, happiness and survival, while panic planning for the future of the planet.

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Our quest today for the natural, the hand-crafted and the original in our built environments is righting some of the wrongs we’ve inflicted on our land and seas with the mass production of products made from synthetic materials. It’s also exposing a contemporary yearning for warmth, comfort and poetry in our surroundings, not seen perhaps since the seventies slump – the last economic happening that opened design doors to bamboo and rattan, and cosseting ‘fat’ furniture. 

Even if you have never engaged with the ins and outs of a building’s acoustics, you will, no doubt, have had many a meeting or passing conversation eased by Rockfon’s sound-absorbing solutions. They may have invisibly clad a ceiling above you in tile form or seamlessly formed the white walls that surrounded you. Rockfon – a part of Rockwool Group – specialises in banishing acoustic bounce with sound absorbing products made from organic stone wool. The products have been part of the fabric of our public spaces – offices, schools, restaurants and libraries – for more than 60 years.

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As our collective conscience challenges the ethics of mass production and the manufacturers of high-end furniture make moves towards more mindful and individually specified making, a design-and-make mentality is becoming ever more present in the industry. It’s new but old. It’s workshops coming to the fore and it’s happening when design entrepreneurs are committed to the very 2022 preoccupations of waste-free production, individualisation and durability.

Even before the ‘C’ word came to dominate our lives, homes were starting to be viewed as sanctuaries, and our furniture required to work ever harder in form and function to coset us. Straight lines have been warping and chairs starting to envelop, while the soothing textures and patterns of nature are in high demand.

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As companies rattle their social and environmental consciences and define new goals toward the achievement of absolute circularity, the whole lexicon of furniture design and manufacture is on the move. While exploring ways to limit its impact on the world’s ecological balance to zero, the industry is mobilising a whole army of r’s: from reuse and repurpose, to recycle and repair, remanufacture and replace, and increasingly also rental.

In a world where our understanding of what makes something luxury is being turned on its head, the once humble construction material, MDF, is coming off pretty well. When it comes specifically to the realm of design and architecture, what is now considered luxurious is not so much the shiny, rare resource, but the thoughtfully and sustainably produced. It’s defined not by carat or lustre, but by circularity, durability and adaptability. In the right hands, humble can become noble.

In case you missed the memo: customisation of furniture and furnishings is one of the most significant developments in the interiors industry today. I don’t exaggerate when I say that every conversation I engage in with design brands includes a discussion around the notion of customisation – so much so that my internal thesaurus is replete with synonyms for the word, since this usually leads to me writing it a lot.

There’s nothing unusual about an architect extending their artistic vision beyond the bones of a building, and into the detail of its content – iconic pieces of 20th century furniture design are often attached to a specific building. Among those practising such gesamtkunstwerke, or the art of synthesising all aesthetic aspects of a site, were often the authors of architectural movements; the artist and crafter William Morris, the Bauhausian lead Walter Gropius or the Secessionists Joseph Maria Olbrich and Josef Hoffmann.