{"id":51770,"date":"2024-09-13T00:01:00","date_gmt":"2024-09-12T23:01:00","guid":{"rendered":"https:\/\/artmag.co.uk\/?p=51770"},"modified":"2024-09-23T16:16:44","modified_gmt":"2024-09-23T15:16:44","slug":"the-invisible-magic-of-design","status":"publish","type":"post","link":"https:\/\/artmag.co.uk\/the-invisible-magic-of-design\/","title":{"rendered":"The invisible magic of design"},"content":{"rendered":"\n<p>DESIGN is everywhere. It\u2019s in the laptop on which I\u2019m writing this, the mug on the table beside me and the wooden table the mug is on. It\u2019s in the cars I see outside the window, the buildings across the street, the crisp bag lifted up by the wind. It\u2019s the invisible magic behind everything around us.<\/p>\n\n\n\n<p>\u201cThat\u2019s why I decided to use the theme Multiplicity,\u201d says Dr Stacey Hunter, artistic director of Dundee Design Festival 2024, Scotland\u2019s national festival of design, which opens on September 23. \u201cThe Design Festival strives to show the multiplicity of ways design interacts with your life. We\u2019ve left no stone unturned, tried to pick apart and hold up and shine a light on all the ways design has value and significance.\u201d<\/p>\n\n\n\n<p>DDF24 is the biggest iteration of the Festival to date, the first to be held at the Michelin Scotland Innovation Parc, on the 10,000-square-metre site of the former Michelin tyre factory. A programme of exhibitions, workshops, talks and events in two vast hangar-like buildings, it marks ten years since Dundee\u2019s designation as a UNESCO City of Design, the only one in the UK.<\/p>\n\n\n\n<p>\u201cIt felt really important to mark that, and to mark Dundee\u2019s growing reputation for excellence in design,\u201d says Hunter. \u201cThe city has demonstrated a lot of leadership in the last 10 years, the two universities have really good design courses, the V&amp;A has opened. We really punch above our weight in Scotland in terms of design. We want to make a festival which is a true snapshot of Scotland\u2019s contemporary design landscape and a real celebration of that.\u201d<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img decoding=\"async\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" data-src=\"https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/09\/Gabriella-Marcella-Midjourney-costume-design-DDF24-copy--1024x1024.jpg\" alt=\"\" class=\"wp-image-51725 lazyload\"\/><noscript><img fetchpriority=\"high\" decoding=\"async\" width=\"1024\" height=\"1024\" src=\"https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/09\/Gabriella-Marcella-Midjourney-costume-design-DDF24-copy--1024x1024.jpg\" alt=\"\" class=\"wp-image-51725 lazyload\" srcset=\"https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/09\/Gabriella-Marcella-Midjourney-costume-design-DDF24-copy--1024x1024.jpg 1024w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/09\/Gabriella-Marcella-Midjourney-costume-design-DDF24-copy--480x480.jpg 480w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/09\/Gabriella-Marcella-Midjourney-costume-design-DDF24-copy--150x150.jpg 150w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/09\/Gabriella-Marcella-Midjourney-costume-design-DDF24-copy--768x768.jpg 768w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/09\/Gabriella-Marcella-Midjourney-costume-design-DDF24-copy-.jpg 1200w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/noscript><figcaption class=\"wp-element-caption\"><em>Gabriella Marcella, Midjourney costume design, DDF24<\/em><\/figcaption><\/figure>\n\n\n\n<p>The Festival features large-scale interactive presentations by some of Scotland\u2019s top design studios, from a woolly forest by Donna Wilson to a tiny house designed for wellbeing, by Alicia Storie. Exhibitions showcase Scottish design, from students to field-leaders, international design from other UNESCO-designated cities around the world, and 20 bookend designs inspired by a pair of trailblazing female journalists from Dundee. Visitors can expect to see the work of over 180 designers in furniture, interiors, jewellery, homeware, graphic design and fashion.<\/p>\n\n\n\n<p>Creative Scotland estimates that design in Scotland has an annual turnover of \u00a33.4billion and supports nearly 4,000 creative businesses, and Stacey Hunter says she has noticed a growing interest in it from a design-hungry public. \u201cIn the past ten years as an independent design curator, I\u2019ve seen an immense appetite amongst the public for design exhibitions and events. Every time I do an exhibition, people say there should be more of this.\u201d<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p><em>\u201cThe Design Festival strives to show the multiplicity of ways design interacts with your life\u201d<\/em> &#8211; <em>Dr Stacey Hunter, artistic director of Dundee Design Festival 2024<\/em><\/p>\n<\/blockquote>\n\n\n\n<p>Turn the clock back thirty years and it was a very different picture. While affordable modern design for the home was available in shops such as Habitat, the word was little-used in mainstream discourse. Lifestyle TV shows such as Changing Rooms and Grand Designs were still years off, as was the opening of Scotland\u2019s first IKEA, in 1999.&nbsp;<\/p>\n\n\n\n<p>All these things have helped make us design-literate, but social media has played a particularly important role, Hunter says. \u201cMost people now have some online presence and we have become more curatorial about the way we live our lives and approach our homes and gardens. With platforms like Instagram, people\u2019s tastes are more developed in terms of the style of design they like and what they want to have around them. We\u2019re aware of how our taste in design might communicate something about us.\u201d<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img decoding=\"async\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" data-src=\"https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/09\/Timorous-Beasties-studio-image--1024x681.jpg\" alt=\"\" class=\"wp-image-51733 lazyload\"\/><noscript><img decoding=\"async\" width=\"1024\" height=\"681\" src=\"https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/09\/Timorous-Beasties-studio-image--1024x681.jpg\" alt=\"\" class=\"wp-image-51733 lazyload\" srcset=\"https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/09\/Timorous-Beasties-studio-image--1024x681.jpg 1024w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/09\/Timorous-Beasties-studio-image--480x319.jpg 480w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/09\/Timorous-Beasties-studio-image--150x100.jpg 150w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/09\/Timorous-Beasties-studio-image--768x511.jpg 768w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/09\/Timorous-Beasties-studio-image-.jpg 1200w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/noscript><figcaption class=\"wp-element-caption\"><em>Image Timorous Beasties<\/em><\/figcaption><\/figure>\n\n\n\n<p>Back in 1990, long before the advent of Instagram and Pinterest, Glasgow-trained designers Alistair McAuley and Paul Simmons started Timorous Beasties, making printed textiles and wallpapers for the luxury market. Their reinvented 18th-century <em>toile de jouy<\/em> patterns flew in the face of the minimalist style which was in vogue in the early 1990s, and they added edgy details, creating a Glasgow toile, for example, featuring tower blocks and homeless people. As McAuley once said: \u201cWe made it as hard for ourselves as possible &#8211; we started out during a recession, making luxury products nobody wanted, using subjects folk found disturbing.\u201d<\/p>\n\n\n\n<p>However, their distinctive work found an audience which has grown steadily over the years \u2013 they have now won many awards and are acclaimed internationally. Glasgow\u2019s year-long designation as UK City of Architecture and Design in 1999 was an important milestone which led to the founding of a design museum, The Lighthouse, and the Six Cities Design Festival in 2006. The following year, Timorous Beasties co-curated a major exhibition of their work, Peacock Among the Ruins, at Dundee Contemporary Arts.<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img decoding=\"async\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" data-src=\"https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/09\/Paul-Simmons-and-Alistair-McAuley-Timorous-Beasties-founders--1024x681.jpg\" alt=\"\" class=\"wp-image-51730 lazyload\"\/><noscript><img decoding=\"async\" width=\"1024\" height=\"681\" src=\"https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/09\/Paul-Simmons-and-Alistair-McAuley-Timorous-Beasties-founders--1024x681.jpg\" alt=\"\" class=\"wp-image-51730 lazyload\" srcset=\"https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/09\/Paul-Simmons-and-Alistair-McAuley-Timorous-Beasties-founders--1024x681.jpg 1024w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/09\/Paul-Simmons-and-Alistair-McAuley-Timorous-Beasties-founders--480x319.jpg 480w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/09\/Paul-Simmons-and-Alistair-McAuley-Timorous-Beasties-founders--150x100.jpg 150w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/09\/Paul-Simmons-and-Alistair-McAuley-Timorous-Beasties-founders--768x511.jpg 768w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/09\/Paul-Simmons-and-Alistair-McAuley-Timorous-Beasties-founders-.jpg 1200w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/noscript><figcaption class=\"wp-element-caption\"><em>Timorous Beasties founders Alistair McAuley and Paul Simmons<\/em><\/figcaption><\/figure>\n\n\n\n<p>While fashions in interior design have cycled through many changes in 34 years, the company has ploughed its own furrow. McAuley says: \u201cThere were moments we tried desperately hard to do things we thought were going to be commercial &#8211; and they never were! People didn\u2019t buy from us because we were the same as everybody else. We just had to stick to our guns to produce what we wanted to produce. It was a very steep curve for us to hold on to, but that is probably our single biggest achievement. We are now 34 years in business, and still don\u2019t feel much different from when we started.\u201d<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img decoding=\"async\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" data-src=\"https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/09\/Studio-Sam-Buckley-Noodle-Stool-and-Bench-in-Framework-exhibition-DDF24--1024x677.jpg\" alt=\"\" class=\"wp-image-51732 lazyload\"\/><noscript><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"677\" src=\"https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/09\/Studio-Sam-Buckley-Noodle-Stool-and-Bench-in-Framework-exhibition-DDF24--1024x677.jpg\" alt=\"\" class=\"wp-image-51732 lazyload\" srcset=\"https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/09\/Studio-Sam-Buckley-Noodle-Stool-and-Bench-in-Framework-exhibition-DDF24--1024x677.jpg 1024w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/09\/Studio-Sam-Buckley-Noodle-Stool-and-Bench-in-Framework-exhibition-DDF24--480x317.jpg 480w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/09\/Studio-Sam-Buckley-Noodle-Stool-and-Bench-in-Framework-exhibition-DDF24--150x99.jpg 150w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/09\/Studio-Sam-Buckley-Noodle-Stool-and-Bench-in-Framework-exhibition-DDF24--768x508.jpg 768w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/09\/Studio-Sam-Buckley-Noodle-Stool-and-Bench-in-Framework-exhibition-DDF24-.jpg 1200w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/noscript><figcaption class=\"wp-element-caption\"><em>Studio Sam Buckley Noodle Stool and Bench in Framework exhibition, DDF24<\/em><\/figcaption><\/figure>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p><em>\u201cWe still find it just as much fun and just as interesting as we did back in the 1990s.\u201d<\/em> &#8211; <em>Paul Simmons, Timorous Beasties<\/em><\/p>\n<\/blockquote>\n\n\n\n<p>Simmons says: \u201cI think people are more design-aware for a whole lot of reasons. Everything\u2019s designed, it\u2019s just who it\u2019s designed by, how it\u2019s made. People are more aware of, more savvy about those things. Things have changed one hell of a lot, not only with tastes and awareness, but with different processes as well. The digital age, being able to make smaller runs of product, has been a big game-changer. It means there\u2019s a lot more competition, but I think there\u2019s a more level playing field. We still find it just as much fun and just as interesting as we did back in the 1990s.\u201d<\/p>\n\n\n\n<p>By keeping their business relatively small &#8211; they employ 20 people &#8211; they continue to be hands-on designers, and seem equally excited whether they\u2019re talking about their new stores in Edinburgh and London, or their installation for DDF24 \u2013 a backlit maze of enlarged white-on-white designs, accompanied by a printing table where visitors can try making a Timorous Beasties blockprint of their own.<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img decoding=\"async\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" data-src=\"https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/09\/Tiny-House-by-Alicia-Storie-of-AdesignStorie-for-DDF24_copyright-Megan-Redden-Photography--1024x683.jpg\" alt=\"\" class=\"wp-image-51734 lazyload\"\/><noscript><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"683\" src=\"https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/09\/Tiny-House-by-Alicia-Storie-of-AdesignStorie-for-DDF24_copyright-Megan-Redden-Photography--1024x683.jpg\" alt=\"\" class=\"wp-image-51734 lazyload\" srcset=\"https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/09\/Tiny-House-by-Alicia-Storie-of-AdesignStorie-for-DDF24_copyright-Megan-Redden-Photography--1024x683.jpg 1024w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/09\/Tiny-House-by-Alicia-Storie-of-AdesignStorie-for-DDF24_copyright-Megan-Redden-Photography--480x320.jpg 480w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/09\/Tiny-House-by-Alicia-Storie-of-AdesignStorie-for-DDF24_copyright-Megan-Redden-Photography--150x100.jpg 150w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/09\/Tiny-House-by-Alicia-Storie-of-AdesignStorie-for-DDF24_copyright-Megan-Redden-Photography--768x512.jpg 768w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/09\/Tiny-House-by-Alicia-Storie-of-AdesignStorie-for-DDF24_copyright-Megan-Redden-Photography-.jpg 1200w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/noscript><figcaption class=\"wp-element-caption\"><em>Tiny House by Alicia Storie of AdesignStorie for DDF24. \u00a9 Megan Redden Photography<\/em><\/figcaption><\/figure>\n\n\n\n<p>Also excited to be invited to make an interactive project for DDF24 is Glasgow-based designer Gabriella Marcella, who is making \u201ca set of uniforms which challenge the idea of uniformity, by showing how they can be canvases for creativity and individual expression\u201d.<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p><em>\u201cBrands have been attracted by the big bright graphics coming out this little studio\u201d<\/em> &#8211; <em>Gabriella Marcella<\/em><\/p>\n<\/blockquote>\n\n\n\n<p>Marcella set up her own company, Risotto, when she graduated from Glasgow School of Art in 2012. A print studio specialising in risograph printing, it is also the platform from which she works on design commissions in her trademark bright, solid colours for clients such as Stussy, Doc Martens, Apple, Puma, Network Rail and the Cannes Lions Festival of Creativity.<\/p>\n\n\n\n<p>\u201cThe studio has been an amazing platform for me, we\u2019ve filled a niche for risography and I\u2019ve been able to reach a broad audience through social media from a small studio in Glasgow. Brands have been attracted by the big bright graphics coming out this little studio, I think that\u2019s part of the reason why I\u2019ve been successful, there is that story. I can work on high-end big-budget stuff that is ambitious and challenging me in different ways, and still have a down-to-earth local print business.\u201d<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p><em>\u201cWe really punch above our weight in Scotland in terms of design.\u201d &#8211; Dr Stacey Hunter, artistic director of Dundee Design Festival 2024<\/em><\/p>\n<\/blockquote>\n\n\n\n<p>She has also noticed Scots becoming more design-aware. \u201cScotland is not like Scandinavia where design is in their DNA, but I think the more the general public are exposed to good design it becomes a standard to be maintained. Everyone can see a lot more care being put into the branding of local shops, restaurants, even food &#8211; people like seeking out things which are unique. Instagram and Pinterest help to form people\u2019s taste and that ripples out into the creative sector.\u201d<\/p>\n\n\n\n<p>Part of the shift in design-awareness has meant a closing of the gap between design and fine art. Artists are presenting their work in ways which increasingly reflect an awareness of design, and designers are making objects to exhibit in an art context.<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img decoding=\"async\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" data-src=\"https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/09\/Naomi-McIntosh-with-Potential-her-work-for-Ash-Rise-photo-by-Ben-Addy--1024x683.jpg\" alt=\"\" class=\"wp-image-51729 lazyload\"\/><noscript><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"683\" src=\"https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/09\/Naomi-McIntosh-with-Potential-her-work-for-Ash-Rise-photo-by-Ben-Addy--1024x683.jpg\" alt=\"\" class=\"wp-image-51729 lazyload\" srcset=\"https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/09\/Naomi-McIntosh-with-Potential-her-work-for-Ash-Rise-photo-by-Ben-Addy--1024x683.jpg 1024w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/09\/Naomi-McIntosh-with-Potential-her-work-for-Ash-Rise-photo-by-Ben-Addy--480x320.jpg 480w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/09\/Naomi-McIntosh-with-Potential-her-work-for-Ash-Rise-photo-by-Ben-Addy--150x100.jpg 150w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/09\/Naomi-McIntosh-with-Potential-her-work-for-Ash-Rise-photo-by-Ben-Addy--768x512.jpg 768w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/09\/Naomi-McIntosh-with-Potential-her-work-for-Ash-Rise-photo-by-Ben-Addy-.jpg 1200w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/noscript><figcaption class=\"wp-element-caption\"><em>Naomi McIntosh with &#8216;Potential&#8217;, her work for Ash Rise. Photo Ben Addy<\/em><\/figcaption><\/figure>\n\n\n\n<p>Ash Rise, an exhibition organised by the Scottish Furniture Makers Association at the John Hope Gateway, Royal Botanic Gardens Edinburgh, showcases just this kind of crossover, with 10 furniture makers and 10 artists and designers making work with wood from trees felled because of the invasive disease ash dieback. Furniture by Angus Ross, Sam Chinnery and the Marchmont Workshop will sit alongside sculptural work by Duke Christie, Richard Goldsworthy and Naomi McIntosh.<\/p>\n\n\n\n<p>McIntosh trained as an architect, then undertook a Masters in Design and now makes intricate sculptures using fine strips of steam-bent wood. She said the same design concerns are present in all her work: the relationship of the body to space, structure, movement and materials. \u201cHow to tell a story is key to all my work, whether architecture, jewellery or what I do now.<\/p>\n\n\n\n<p>\u201cI don\u2019t make furniture, I work with tiny, delicate pieces of wood, but they have to be steambent in the same way. I think the boundary between the two has broken down. There are 20 makers in Ash Rise and we are all working in different ways, but also in the same ways because we are all woodworkers.\u201d<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img decoding=\"async\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" data-src=\"https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/09\/Angus-Ross-Clova-Chair-for-Ash-Rise-exhibition--1024x1536.jpg\" alt=\"\" class=\"wp-image-51722 lazyload\"\/><noscript><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"1536\" src=\"https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/09\/Angus-Ross-Clova-Chair-for-Ash-Rise-exhibition--1024x1536.jpg\" alt=\"\" class=\"wp-image-51722 lazyload\" srcset=\"https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/09\/Angus-Ross-Clova-Chair-for-Ash-Rise-exhibition--1024x1536.jpg 1024w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/09\/Angus-Ross-Clova-Chair-for-Ash-Rise-exhibition--480x720.jpg 480w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/09\/Angus-Ross-Clova-Chair-for-Ash-Rise-exhibition--100x150.jpg 100w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/09\/Angus-Ross-Clova-Chair-for-Ash-Rise-exhibition--768x1152.jpg 768w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/09\/Angus-Ross-Clova-Chair-for-Ash-Rise-exhibition-.jpg 1200w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/noscript><figcaption class=\"wp-element-caption\"><em>Angus Ross, &#8216;Clova&#8217; chair, for Ash Rise exhibition<\/em><\/figcaption><\/figure>\n\n\n\n<p>:: <strong>Dundee Design Festival 2024<\/strong>, Sep 23-29, Michelin Scotland Innovation Parc, <a href=\"https:\/\/www.dundeedesignfestival.com\" target=\"_blank\" rel=\"noopener\">www.dundeedesignfestival.com<\/a>.<\/p>\n\n\n\n<p><strong>Ash Rise<\/strong>, Sep 13 &#8211; Jan 12, John Hope Gateway, Royal Botanic Gardens Edinburgh, <a href=\"https:\/\/www.scottishfurnituremakers.org.uk\" target=\"_blank\" rel=\"noopener\">www.scottishfurnituremakers.org.uk<\/a><\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img decoding=\"async\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" data-src=\"https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/09\/Stevi-Benson-TIME-for-Ash-Rise-exhibition-photo-courtesy-of-the-maker-1024x1114.jpg\" alt=\"\" class=\"wp-image-51762 lazyload\"\/><noscript><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"1114\" src=\"https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/09\/Stevi-Benson-TIME-for-Ash-Rise-exhibition-photo-courtesy-of-the-maker-1024x1114.jpg\" alt=\"\" class=\"wp-image-51762 lazyload\" srcset=\"https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/09\/Stevi-Benson-TIME-for-Ash-Rise-exhibition-photo-courtesy-of-the-maker-1024x1114.jpg 1024w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/09\/Stevi-Benson-TIME-for-Ash-Rise-exhibition-photo-courtesy-of-the-maker-480x522.jpg 480w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/09\/Stevi-Benson-TIME-for-Ash-Rise-exhibition-photo-courtesy-of-the-maker-138x150.jpg 138w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/09\/Stevi-Benson-TIME-for-Ash-Rise-exhibition-photo-courtesy-of-the-maker-768x835.jpg 768w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/09\/Stevi-Benson-TIME-for-Ash-Rise-exhibition-photo-courtesy-of-the-maker.jpg 1200w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/noscript><figcaption class=\"wp-element-caption\"><em>Stevi Benson, &#8216;TIME&#8217;, for Ash Rise exhibition. Photo courtesy of the maker<\/em><\/figcaption><\/figure>\n\n\n\n<p><\/p>\n","protected":false},"excerpt":{"rendered":"<p>As Scotland\u2019s national design festival gets underway in Dundee, Susan Mansfield explores how we became a design-conscious nation.<\/p>\n","protected":false},"author":105308,"featured_media":51726,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"site-sidebar-layout":"default","site-content-layout":"default","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","theme-transparent-header-meta":"default","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"set","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"footnotes":"","_links_to":"","_links_to_target":""},"categories":[2056],"tags":[3009,3010,512],"topic":[251],"class_list":["post-51770","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-subject-matter","tag-ash-rise","tag-dundee-design-festival","tag-festival","topic-event-news"],"acf":[],"_links":{"self":[{"href":"https:\/\/artmag.co.uk\/wp-json\/wp\/v2\/posts\/51770","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/artmag.co.uk\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/artmag.co.uk\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/artmag.co.uk\/wp-json\/wp\/v2\/users\/105308"}],"replies":[{"embeddable":true,"href":"https:\/\/artmag.co.uk\/wp-json\/wp\/v2\/comments?post=51770"}],"version-history":[{"count":0,"href":"https:\/\/artmag.co.uk\/wp-json\/wp\/v2\/posts\/51770\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/artmag.co.uk\/wp-json\/wp\/v2\/media\/51726"}],"wp:attachment":[{"href":"https:\/\/artmag.co.uk\/wp-json\/wp\/v2\/media?parent=51770"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/artmag.co.uk\/wp-json\/wp\/v2\/categories?post=51770"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/artmag.co.uk\/wp-json\/wp\/v2\/tags?post=51770"},{"taxonomy":"topic","embeddable":true,"href":"https:\/\/artmag.co.uk\/wp-json\/wp\/v2\/topic?post=51770"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}