These designers from Singapore show us the future of design during Milan Design Week

Furniture that absorbs carbon dioxide. Interactive ceramic wares made from glass waste. Lamps that combine 3D printing and basket weaving. These were some of the progressive works by Singaporean designers showcased during Milan Design Week 2024.

Held from Apr 16 to Apr 21, the fair is the world’s most important furniture trade and design showcase. The future-forward works contrasted with the historic surroundings of the dome La Rotanda del Pellegrini where they were exhibited and ignited many discussions on new possibilities in the design industry through harnessing today’s technology and thinking differently about sustainability.

The first version of Future Impact held in 2023 was curated by Tony Chambers and Maria Cristina Didero and presented by the DesignSingapore Council. Formerly the editor-in-chief of Wallpaper magazine, Chambers is also the founder of creative agency TC & Friends, and co-founder of design, art and ideas platform OTOMO. Didero is an independent design curator, author and consultant. Both were back to curate the second edition.

“I’ve been closely observing the design scene in Singapore for many years now and what has always struck me is the unique approach and attributes of the designers. They possess a perfect mix of creativity and pragmatism. They are natural problem-solvers who embrace innovation, but the aesthetic qualities of their work are reflective of the rich cultural diversity that is Singapore,” commented Chambers.

The main aim of Future Impact 2 was to continue to highlight this to a global audience. Exhibitors were tasked to create new work that minimises environmental impact, enhances functionality as well as assess current production methods.

Copenhagen- and Singapore-based design studio Christian+Jade, comprising Christian Hammer Juhl and Jade Chen, zoomed in on the topic of materials – specifically the lesser-known rubber wood that is typically burned after a 30-year lifespan of rubber cultivation as only the tree sap is harvested to make rubber products; the wood is seen as waste.

The studio repurposed the wood, sourced from Malaysia by Japanese furniture company Karimoku, into the Para stool topped with a rubber ‘cushion’. “We wanted to create a design that brings together natural rubber and its wood, as a way of closing the gap between the rubber as we know it and its origins as a living resource while bringing attention to the beauty of rubber wood,” said Hammer Juhl.

Initially, the duo wanted to showcase rubber wood as a desirable and luxurious material using beautiful wood pieces. “However, we quickly found that what was readily available in the market was often smaller planks of underutilised rubber wood pieces, with damages and traces of rubber production,” said Chan.

They decided to highlight these quirks as an “additional layer of storytelling”. At the same time, the project sparked thoughts on new wood-processing methods to explore how the current undesirable qualities of the wood can be changed through design.

Multidisciplinary designer Faezah Shaharuddin also created wooden furniture but incorporated new technology. The founder of furniture company Studio Kallang layered wood offcuts from her furniture line with salvaged vintage silk textiles. These were treated with cutting-edge CozTERRA that absorbs carbon dioxide using artificial intelligence technology.

“CozTERRA is a drop-in formulation concocted by Singapore-based material engineers Xinterra that is added to the textile-manufacturing process. Current applications are for the apparel industry, but I was interested to explore potential applications within the interior space,” said Faezah on the collection titled Unlikely Fragments.

Likewise, ceramics artist and co-founder of architecture firm Studio Gin&G Genevieve Ang collaborated with Clement Zheng from Interactive Materials Lab to explore combining traditional materials with technology. Reciproco is a pair of interactive ceramic wares that transfer heat from object to object using hidden circuits. When touched, heat from the hands changes the colour of the pieces, thanks to a layer of thermo-chromic paint.

“We wanted to re-evaluate our assumptions that ceramics embody the opposite of what technology means. This led us to question what technology itself means. Also, the sustainable ceramics glaze is formulated from glass waste, which demonstrates how by looking deeper into what we assumed to be the opposite end of innovation could potentially be a solution,” said Ang. Added Zheng: “From the perspective of electronics, ‘handcrafting’ circuits also leads to digital devices that feel a lot more personalised to a person or a space.”

Another project pushing its creator out of her comfort zone is Mosaic Membrane. Textile artist Tiffany Loy gave mosaics, typically viewed as wall- or floor-cladding material, a different spin. Her coffee table is ‘wrapped’ with mosaic tiles made from off-cut stones and recycled glass provided by Italian mosaic experts Friul Mosaic.

“There are many parallels between the approaches to weaving and mosaics. They both focus on assembling thousands of smaller components to form a larger whole. In fact, for this project, the idea was to create a very thin, membrane-like structure for the mosaic pieces to flow over, almost in a cloth-like way. The finished piece is a coffee table, but I’d imagine other typologies of collectible pieces stemming from this,” Loy expounded.

Currently based in Portugal, designer Gabriel Tan also experimented with weaving. His Good Gourd – Hybrid Basketry series of lamps marries 3D-printing and traditional basket-weaving techniques.

“Heritage craftsmanship and traditional techniques often involve fewer resources and rely on skilled artisans rather than mass production. By supporting artisanal communities and preserving traditional craftsmanship, we are contributing to sustainable livelihoods and cultural consideration,” Tan remarked.

Spanish artisan Idoia Cuesta, known for her fishing line basketry sculptures, wove the lamps using coloured translucent fishing lines. The 3D-printed resin structure made from a low-skill, easily accessible construction method that Tan believes can expand the creative potential of small-scale makers in urban centres who have little access to artisanal skills.

Also addressing production processes are David Lee and Netherlands-based Zavier Wong. The latter’s Manifold Steel – Wall Piece No. 1 is an artwork-cum-shelf comprising sheets of steel that are cut, folded, welded, and then finished by hand. Algorithmic computational design tools, digital fabrication techniques and artificial intelligence were used in the process, with the aim of minimising material usage and reliance on labour-intensive making methods.

Similarly, Lee’s furniture pieces from the Monolith collection attempt to streamline the production process. Each item is fashioned from a single piece of material, laser cut and bent into its final fluid form. The lack of joints and minimal manpower required simplifies production, unlike current construction processes where a single chair typically entails managing around 12 different components and three unique materials. Not to mention the manpower needed for assembly, Lee highlighted.

“My aim was to minimise waste, conserve human resources and reduce environmental impact. This approach enhances material efficiency, as the streamlined manufacturing optimises resource utilisation,” he added.

Chambers shared that feedback from visitors were very positive. “Many visitors expressed how impressed they were with the innovative and varied approaches of the seven designers and studios, and the strength of the narratives and thinking behind the projects. The intelligent focus on sustainable design solutions was also greatly appreciated.”

The exhibition was also a great connector for many. For example, last year’s version led to collaborations by Nathan Yong and Tiffany Loy with The Macallan House at Raffles Arcade.

“Many connections have been and will continue to be made between the designers and potential clients across the global design business,” commented Chambers. “Not least, this exhibition puts Singaporean design and designers centre stage at the most important design week in the world.”