The future of the world lies in design. Design, and the creative professionals that produce art, film, architecture, graphics, industrial design, furniture and a host of other services and products, will drive economies in this millennium. The prospects of a design-shaped future is why I found myself in Singapore again the other week, for the “100% Design Singapore” event held at the Marina Bay Sands convention and exhibition complex.
“100% Design Singapore” is the next installation of the 100% Design series after “100% Design Shanghai.” The series was started in London, evolving from a fringe event to one of global design’s must-attend exhibits. The Singapore edition, like its predecessors is “a contemporary design-led interiors exhibition presenting the latest products launches, ideas, designs and technology for interior designers, architects, retailers.”
“100% Design Singapore,” organized by Reed Exhibitions, is, however, more than just exhibits. It is an opportunity for designers to network and share ideas. Eschewing formal speeches and large plenary seminars, the event hosted a series of very interesting exchanges in more intimate settings of 30 to 40 people. I attended several of these in the span of three days, while also attending the BEX (Build, Eco, Expo) exhibit that was held parallel to “100% Design.”
That is what’s good about Singapore. It is a convention and exhibition capital and one can always find a conference or event to attend (if you needed an excuse to visit this top tourist haven).
I attended the talk of Patrizia Moroso, art director of furniture maker Moroso, who had just arrived from Manila. She expounded the notion of art and design being linked and how each can influence the other. Moroso’s products engage artists as well as designers in other fields. Moroso has commissioned comics illustrators, sculptors, even fashion designers (like Stella McCartney). Patrizia says that, “artists want to make something for everyone” and that furniture is one of the best ways to imbue art in design for everyone’s benefit.
Speakers and designers came from all over the globe. The keynote session was delivered by Rosan Bosch, a successful contemporary Danish interior designer now making waves worldwide. She showed how design can be used as a tool for change via case studies of her work.
Her most interesting designs are from institutional projects — schools and libraries — where she literally breaks down the walls of strait-laced education to create spaces for learning to be fun and efficient. Her Lego factory renovation also showed how even a factory of fun can be made even more pleasant to work in.
I also liked the presentation of Isabelle Miaja, principal of Miaja Design Group, an international interior design firm with an office in Singapore. They showed their portfolio of cutting-edge interiors including a work-in-progress, the new Sofitel in Singapore (which I hope to feature when it is finished next year). When I approached her after the talk I was surprised (or maybe not surprised) to find her staff surrounding her — all, except one, were Filipino. This led, of course, to a Kodak moment.
In between talks I visited the many booths in the exhibit including Moroso’s, the Japan Interior Planner’s Association, Magis, Mundian, Kube Design, Selangor Pewter (with great new modern designs), Lizzo, Patcraft, Pierre Frey, Porada, Pozzi Divani, Romo, Serdaneli Paris, VW+BS, the La Salle College of the Arts, the National University of Singapore’s quirky CUTE Center products, and dozens more (90 exhibitors participated).
I spent some time at the booth of Four O Nine, a Shanghai-based company run by two crazy Canadian architects, Andrei Zerebecky and Lukasz Kos. They design and make a wide range of furniture and are involved in interior and architecture projects. What caught my eye though were their huge abstract rugs. I spotted them a mile away as one used the pattern of boulevards of Paris and the other was the distinctive grid of New York City with Central Park in the middle. I told them that both cities influenced the master plan for Manila (by Daniel Burnham) and that they should extend the series called “Urban Fabirc” to include the Pearl of the Orient.
Lukasz Kos, creative director and co-founder of Four O Nine, shared with me, “We took part in 100% Design for the first time in Shanghai a year ago. The show in Singapore is extremely well-curated, every exhibitor and item exhibited is fantastic and above a certain level. The whole quality of the show from the exhibitors to the visitors is amazing.”
The event was curated by the firm of VW+BS, a multi-disciplinary design practice based in London. I got to talk to Voon Wong, one of the Singaporean principals of the firm. He explained that the curatorial framework of the exhibit was 55,75,95 — the three standard heights of furniture and tables. Voon was very upbeat on the fact that the world was focusing on Asia and that Asia, and keycenters like Singapore, are becoming design-driven. He projected that the event would be a success, as the original one was for London (which his group had participated in several times).
The inaugural event was indeed a success. I found out later from the organizers that “100% Design Singapore” brought in over 4,600 visitors from 53 countries. More than S$2 million worth of potential business deals was also recorded within the recent three-day event. The organizers, Reed Exhibitions, also received interest from 70 percent of the participants indicating their desire to return next year.
“100% Design Singapore” points to very encouraging and increasing global and regional interest in design in Singapore and its neighbors. Filipino designers can attend and exhibit at the next 100% Design event to gauge where they stand and also to gain from the networking and exposure.
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Feedback is welcome. E-mail the writer at paulo.alcazaren@gmali.com. For more information on 100% Design, e-mail Han Jia Ni of Reed Exhibitions at jiani.han@reedexpo.com.sg.