The fifth edition of TENT, which took place at the Truman Brewery in the heart of East London’s Brick Lane, was the largest yet, and didn’t disappoint with its offerings of more innovative designs and inspiring concepts.
The event has reduced its digital/techie content… and the vintage section has also gone – which is a shame, as these two elements set TENT apart from the other large shows. Nevertheless there was plenty of retro 1950s-inspired furniture, alongside ‘upcycled’ or restored pieces.
Ercol is endeavouring to rework its classics, with dip painted benches and rather garish fabrics. Their new bar stool was inspired by some pieces made decades ago for their draughtsmen and designers – in the days when drawing was done sat at a drawing board rather than a computer. The stool is due for a renaissance; more and more people are choosing higher desks or even working standing up, as tests have shown that this eases back pain, is better for our waistline and increases mental alertness (try it next time you want to get someone off the phone). The stool. Comeback. You read it here first.
The new modular screen-cum-space divider Facet, from 3Form, was particularly eye-catching: its diamond-shaped elements can rotate 360º, thereby creating unique, interactive patterns, that play with light and shadow. Lee Borthwick’s ‘wooden tapestries’ were also very striking. The Scots born London-based artist produces wall installations for both public and private spaces, and her ‘In with the tide’ design comprises over 500 wooden segments threaded together in a moulded curve, creating a dramatic towering effect that engulfs the viewer.
Shapeways makes, buys and sells 3D printed products, and at TENT they showed their collaboration with husband and wife team, Gilbert13. Since 2008, Angela and Mark Gilbert have been developing characterful products for the home. Fable – is a digitally crafted ornamental timepiece that displays the time in an engaging and captivating way. A classically shaped domed cage houses a tranquil scene – a rotating tree that moves with every second, gently swaying the swing as time passes by. It is human nature to be fascinated by unanswered stories and with the abandoned scene portrayed within the cage, the designers have deliberately given little away, allowing for individual interpretation of the intriguing spectacle. This encourages the onlooker to take ownership of the product, provoking imaginary thoughts while allowing them to create their own narration of the scene.
Getting across the wonderment of 3D printing is not easy, as one really needs to see the process in action to appreciate what is involved – which Shapeways had thought of, by showing a film of the piece being made. Across town at the V&A Museum, New York curator-retailer Murray Moss also explored 3D printing, with his show, ‘How the Material World will Newly Materialise’. Pieces were dotted around the museum, intended as witty references to the museum’s key pieces and spaces. But getting the sense of how these static objects were executed – many of which could not have been realised if it were not for 3D printing – was absent.
Geometric forms were alive and kicking at TENT (as they had been at 100% Design) – notably by Sarah Arnold’s lighting designs, whose structural forms were inspired by London’s architectural skyline. Her fascination with material innovation is evident with an inventive use of laser cut acrylic, creating pieces that are simultaneously industrial and elegant. They also reflect the multi-disciplinary nature of her studio – which spans fashion, product and vehicle design, jewellery, visual merchandising and installation. With commissions from Selfridges, Swarovski, Hussein Chalayan, Toyota Japan, the Design Museum and Pizza Express under her belt, Arnold is clearly a name to look out for.
Harking back to the fashion-design trend spotted at 100% Design, Dutch designer Pepe Heykoop’s ‘Leather Lampshades’ juxtaposed smooth lambskin with the industrial form of a lampshade. Produced with the Tiny Miracles Foundation in India, for every lampshade sold, the equivalent of one month’s school fees is donated to the workers’ daughters to attend a private school. A light that really does brighten people’s lives.
TENT was also the launch-pad for GAS – an agency representing a stable of experienced artists, illustrators and designers – including Gordon Robertson and Delphine Lebourgeois – whose work can also be applied to interiors projects, such as textiles, wallpaper, murals, lampshades, ceramics and furniture. Founded by Gina Cross, an art buyer with over 15 years experience as a commissioner of art, design and illustration, she is also a freelance illustration agent and operates a sister website, A Little Bit of Art which specialises in affordable prints.
GAS goes one step further, by encouraging its artists to apply their skills more laterally – such as Robertson applying his surface patterns to furniture as well as vessels. His experimental approach to metal is a progression of his skills as a printmaker; the designs are hand-drawn, scanned and manipulated using computer software and then re-drawn and etched onto zinc, copper, pewter and silver, resulting in wonderful surface patterns as a tactile three-dimensional form which can also be applied to textiles and ceramics.
With the high street having to reinvent itself with the onslaught of out-of-town shopping centres and the internet – another avenue which could have strong potential, are niche agencies such as GAS. As we become ever more demanding in our choice of information and entertainment, so it is with our furnishings, as the quest for sourcing items not available everywhere else becomes the holy grail.
TENT demonstrates that there is demand for more individual wares… there was plenty of colour, metallics, wood, nostalgia and forward thinking prowess. Whether the next generation of designers are actively looking at what is missing on the market or simply nurturing their own desires is a moot point.
Too few designers seem to be prepared to play with scale. Certain metallic designs and sculptural ceramics would have looked magnificent if they had been made ten times larger – perhaps to fill a lobby or take centre stage on a large surface. They would instantly have more impact, be more compelling and more desirable. So next year folks: think big.
