Pearson Lloyd's 'Well Made: What it means today' proffers innovations at LDF 2024

In his 1971 book, Design for the Real World, Austrian-born American designer and educator Victor Papanek writes, "In an environment that is screwed up visually, physically and chemically, the best and simplest thing that architects, industrial designers, planners etc. could do for humanity would be to stop working entirely [...] But [...] we can go beyond not working at all and work positively. Design can and must become a way in which young people can participate in changing society." In a world where over-consumption and over-design are prevalent, Papanek's critical worldview and conjectures continue to resonate with people who strive for social change through design. Instead of feeding false utopian hopes, he concludes the book by urging designers to re-design for survival with a sense of responsibility towards the environment and people, which poses a question—what is 'good design' in modern times?

In an attempt to find cues to this timeless inquiry and spark conversations on the subject, London-based design studio Pearson Lloyd collaborated with 40 designers and creative practices to present their perspectives and design explorations through an exhibition at this year's edition of the London Design Festival, titled Well Made: What it means today. Curated by the studio's co-founders Luke Pearson and Tom Lloyd, the show will take place at Yorkton Workshops, their studio premises in Hackney, from September 14 - 22, 2024, during the design event.

STIR, a media partner with Shoreditch Design Triangle for the London Design Festival 2024, takes a look at some of the distinguished presentations from the showcase.

“In recent history, our industry has over-designed for questionable human needs," says Pearson, on the decades of observation and inspiration behind Well Made: What it means today. "Tom and I are in constant dialogue about the materials, processes and consequences of production methods we encounter on our travels, ranging from bricolage to craft to industry," he adds. As the world's social, economic and environmental landscape continues to change, the design exhibition aims to redefine good design with the help of leading experts from an array of design disciplines.

The contributors were required to choose a human-made object with a fitting text that embodies the concept of a 'well made' design, exploring the product's materiality and sustainability in production. Additionally, the studio puts forth open calls to its extended community for images or physical presentation of objects smaller than 200 mm and cheaper than £20 in the UK with an accompanying text to voice their views on the matter.

The contributions include everyday objects including a peeler, door handle, wheel of a bicycle, whistle, wooden clip hanger, sanitary pad, clamp, heating pad, ball-point pen, adhesive, systems of measurement and several kitchen tools. Design writer and founder of Green Grads (a group of British graduates with ideas to heal the planet) Barbara Chandler's entry is a foldable heating mat. "I cherish in particular the problem-solving designs that, you might say, are Made for Well," she says. Design Council's chief design officer Cat Drew presents sustainable clothing with her definition of well-made design as "innovative solutions that can be achieved through science-based and nature-oriented thinking". Milo McLoughlin-Greening, designer and co-founder of circular manufacturing company Batch. Works brings forth a circuit board. Speaking of the significance of his presentation, he says, "Modern life depends on circuits and signals to communicate, move and play, but generates 50 million tonnes of e-waste annually."

Industrial designer Giovanni La Tona's submission of a key spotlights the evolution, refinement and reinvention of an everyday artefact over the years. Architect and designer Malina Dabrowska, whose presentation constitutes a plastic bag, brings to the conversation "a story about the wider future of making, where our design decisions are underpinned by circular economy principles." Another plastic bag by design writer and editor Mark Wilson packages a "balance of form, function, availability and durability as the standard we must beat to save Earth," as he puts it.

Among other contributors are London-based writer and curator Grant Gibson presenting 'an intricately-researched but poorly made toaster'; designer, curator and educator Daniel Charny’s phone stand from discarded cardboard rolls; artist and designer Paul Cocksedge's fibre optic cable, designer Erwan Bouroullec's paper vases; and product and furniture designer Jasper Morrison's steel peeler.

Collectively, the submissions highlight the practicality, durability, simplicity, affordability and sustainability of items while also underlining poorly made objects and a lack of thoughtful inventions and redesigns. While some pieces inspire a sense of repurposing household waste to create a functional tool, others alert us of environmentally harmful things we use daily. Well Made: What it means today is anticipated to offer insights on sustainable design practices and encourage dialogues on design, production and collaboration, urging visitors to be mindful of their consumption and simple everyday choices.

In its 22nd edition, the London Design Festival—including its 11 design districts, partners and the design fair Material Matters—stirs the city with a dynamic programme of installations, exhibitions, workshops, talks and more. Follow STIR at London Design Festival 2024, as we continue to bring the best of the festival's offerings along with our own initiatives across the city, including our partners Shoreditch Design Triangle, Mayfair, the Global Design Forum, and more across Brompton, Battersea, Chelsea, Dalston to Stokey and Bankside.