Too much choice can be overwhelming. Head to the toothpaste aisle of any neighbourhood drug store, and there will probably be somebody racked by indecision as they consider the subtle distinctions between various tubes. On the other hand, from a design point of view, there’s also something interesting about seeing so many varieties of the same type of product grouped together in close proximity. The fact that a single item can result in such a wide range of interpretations is a testament to the fact that we each approach the world from a different point of view.
This past April, several Milan exhibitions invited designers to contribute their own riffs on a single typology. Wall clocks, teapots and even funeral urns were all reimagined in a multitude of possibilities. The results demonstrated that there’s always room for a fresh take. Here’s a summary of three shows that celebrated strength in numbers — and a few interpretations that stood out from the crowd.
I. CLOCKING IN
The Show:
24 Hours, a collection of two dozen timepieces organized by designer Jamie Wolfond and brand agency Simple Flair.
Displayed at Spazio Riviera (a cultural space run by Simple Flair’s co-founders), the show gave participants simple criteria: Clocks had to be wall-mounted, and they had to fit within a square box measuring 50 centimetres along each side.
The Standout:
Trim by Earnest Studio. Defined by clean lines and a soft lavender hue, the design isn’t a bold visual departure from established clock conventions. But upon closer inspection, you’ll notice that the pared-back design features just a single hand that moves around the face gradually over the course of a day — completing its cycle in 24 hours rather than the typical 12. In the process, it encourages a slower pace of life that doesn’t centre around trying to make the most of every minute.
Other Variations:
II. LIFE IN A BOX
The Show:
The Last Pot, Alessi’s collection of 10 funerary vases designed to be “the final container” of our lives.
In the exhibition text, Alberto Alessi noted that while his family’s company had crafted vessels “for countless purposes” over its 100-year history, “there was one container we hadn’t explored, a design category that had received surprisingly little attention: the funeral urn, the vessel meant to hold our ashes.”
Held at the Biblioteca Ostinata, an intimate library near the University of Milan, the show featured a display podium by Studio Giulio Iacchetti that used translucent laminate to introduce a heavenly glow.
The Standout:
Khora by Daniel Libeskind. There is a solemnity but also a poetic beauty to the design, which embeds a ceramic-lined metal cube between two panes of frosted glass. A quiet reflection of a soul crossing over, it packs all the potency of a public memorial into the scale of a domestic object — one that is ready to inspire endless reflection.
Other Variations:
III. STEEPED IN CRAFT
The Show:
Loewe Teapots, a roundup of 25 ceramic teapots that explored the object as both a demonstration of craft and a cross-cultural connection point.
Each design was presented on the same plinth inside Palazzo Citterio, illuminated by a single strip line pendant light. To accompany the exhibition, Loewe introduced a limited-edition collection of woven-leather coasters, crocheted tea covers and teapot charms.
The Standout:
Surrounding Green by Wang Shu. Many of the exhibition’s designs feature questionable functionality, and we’re dubious about how this prismatic one would pour. On the other hand, its totemic presence (amplified by a talisman-like hexagonal lid) seems to exude the calmness and discipline of the tea-making ritual even before you’ve started boiling water. In other words, it’s the perfect kitchen decor for anyone who likes the idea of tea, but usually ends up making coffee instead.
Other Variations:
A Trio of Milan Exhibitions Explored Teatime in the Afterlife
Across the city, designers teamed up for group shows that presented myriad interpretations of clocks, urns and teapots.