Industria: Iron Furniture from the Philippines

At this year’s ASEAN Singapore furniture fair, Philippino designers Jude Tiotuico and Eric Paras launched their wing chairs made of iron for Industria Home.

Featherston lounge chair

Industria Home is a small iron manufacturing company based in the Philippines.

Featherstone Ottoman

Their furniture design, which incorporates wrought iron into their pieces, brings fantasy to forms and function.

Chateau triangular chair

The furniture ranges from chairs to tables to lighting to coat racks. Each piece is crafted with romanticised steel, woven together to create a romanticised look.


The elegant and beautifully woven together makes the chairs look light and delicate.

Strato Barrel Side Table

The eclectic mix of styles allows the pieces to be incorporated into a range of interiors.

Hudson Threaded Tea Table

Combined with smooth finishings, wood and upholstery the furniture can be adapted to classic styles.

Rather than having an industrial feel or a traditional structure these designs reinterpret contemporary and classic designs giving them a new texture.

Paul Smith at the BIID

At the annual BIID conference Paul Smith gave an impressive speech about contemporary design and the future of interior design.

Paul Smith

He stated that

“We design for a home not a house”

Emphasising that designers must not only think about style but also comfort and practicality. He also stated that it is important to do things because they are right rather than because they are easy, steering designers away from being lazy.

Paul Smith carpet

A lasting practical interior is of course much more valuable and most likely more comfortable than something purely aesthetic. However there needs to be a link between the two allowing beautiful interiors to also be functional and fitting for the home.

Maggie’s Nottingham by Paul Smith photographed by Michael Whelan

The annual conference focused mostly on the state of contemporary design and where things will progress from the present.

Paul Smith spoke about the advantages of collaborations, bringing together a variety of expertise. Working with other interior designers can be a huge advantage and can trigger new areas of creativity and style.

Paul Smith sofa

He described the human mind as cluttered saying

“the inside of our brain is like a room full of things”

but claimed that this mix of contrasts is complementary and can be used to be very positive.

Maggie’s Nottingham by Paul Smith photograph taken from Dezeen

Paul Smith said, maybe most importantly, that it is crucial for interior designers to understand the client’s brief. A good interior designer can understand what his clients want and pulls the brief out from under them.

Maggie’s Nottingham by Paul Smith photograph taken from Dezeen

They must listen to their words and try to dig deeper and get inside their heads to really get a sense of what the client envisions, taking into account all the different aspects of the brief.

Maggies Nottingham by CZWG

He recently designed the interior of Maggie’s Centre for cancer care in Nottingham, England, which is designed essentially for living.

Maggie’s Nottingham by Paul Smith photographed by Michael Whelan

Paul Smith sought to create a comfortable and thought provoking style that also functions to create an atmosphere where both patients and family can relax.

The British Interior: Views from the V&A

Celebrating British Design

Annual Conference British Institute of Interior Design

June 21st, 2012

‘God Save the Queen’, poster promoting the Sex Pistols, designed by Jamie Reid, 1977
© Jamie Reid, Photograph by Victoria and Albert Museum

Glenn Adamson, head of research at the Victoria & Albert Museum in London, presented a very intriguing view of British interior and furniture design referencing the current exhibition of ‘British Design’ and the recent ‘Postmodernism: Style and Subversion 1970 to 1990’ at the Victoria and Albert Museum, London.  He also referred to the Geffrye Museum in London.

‘Torsion’ chair, designed and made by Brian Long, 1971 By kind permission of Brian Long /
Photograph © Victoria and Albert Museum

‘Period rooms’ and exhibitions allow us to see interior and furniture design from the point of view of a museum installation. Museums are able to present normally subjective designs’ that follow fashion and trends of their day in an objective way. However opinions on what periods had good or bad interior design are largely based on an individuals taste and background.  The nature of design, being often derived or evolved from past and or contemporary influences, makes it difficult to predict the future of interior & furniture design let alone discuss our present state.

Aquatics Centre for the London 2012 Olympic Games, designed by Zaha Hadid Architects,
completed 2011; shown in Legacy mode © Zaha Hadid Architects

Glenn’s presentation gave an overview of British design from the 20th century.  He stated that the 21st century is still too much upon us to be retrospective, but the hot topic of ‘where are we now?’ was very provocative to an audience actively involved with contemporary design.

Antelope’ outdoor bench, designed by Ernest Race for the Festival of Britain, 1951, manufactured
by Race Furniture Photograph © Victoria and Albert Museum

The most current interior design period room installation at the Geffrye museum shows a ‘loft style’ room. 
In the age of minimalist influence, the mundane has become the norm with the abundance of Ikea furniture, off white walls and large flat screen TVs acting as a focal point to the sterile ‘modern’ sitting room. Viewing this exhibit one could surmise that interior design is no longer in it’s prime at the end of the 20th Century as it continues into the early 21st.

Loft Apartment 1998 installation at the Geffrey Museum

I cannot agree more with Glenn that we are now in a fragmented if not transitional period of design where the ‘the visual’ has taken over and it could be said we ‘have too much choice now’.  Could this arguably be seen as a positive influence for Interior and furniture design as it follows society itself?  If we are now global, interconnected and have access to more information than ever in the history of mankind, is it not natural that we would appear to be fragmented and chaotic?  Is this the result of adjusting to the information shift in human communication and even our evolution?

Hare jewel from ‘Masquerade’, Kit Williams, 1979. Private collection
Sotheby’s Picture Library / Kind permission of Kit Williams

It would also be expected that we would look backwards for comfort in times of change, mixing in our own snippets from the ‘information overload’.  Perhaps upcycling could define our current state where the past, present and awareness of our impact on the environment come together in an individualistic way where each piece is unique. A reaction to mass production and a combination of existing elements that are more visual than designed for function or well crafted.  Is the loss and lack of craftsmanship affecting our standards of interior and furniture design?

The presentation raised a lot of questions and gave the audience a lot to think about. Glenn concluded his talk by proposing a cliff hanger for the audience: ‘What do we do now?’  His answer: ‘design with character and integrity are needed’.