From 19–22 May, the historic London neighbourhood of Clerkenwell was transformed into a living gallery of design as Clerkenwell Design Week returned for its 14th – and most expansive – edition. Throughout the week, more than 250 international exhibitors and 170 local showrooms animated the streets with a vibrant celebration of craft, innovation and material exploration. A surreal, rippling brick sculpture by Alex Chinneck undulated through Charterhouse Square, while talks by Sabine Marcelis, Tom Dixon and Benjamin Hubert took place in a kaleidoscopic auditorium designed by London studio Kapitza.

“We’re thrilled to be back in Clerkenwell this May with our largest programme yet, both in scale and content,” said Marlon Cera-Marle, Design Division Director at Media 10. New venues, including the medieval Church of St Bartholomew the Great and Studio Smithfield, added gravitas to the programme, which spanned everything from evocative installations and stone vending machines to impactful launches like Fin – Daniel Schofield’s elegantly pared-back new chair for NaughtOne.

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A Week at the Knees by Alex Chinneck

One of this year’s most talked about installations was A Week at the Knees by British artist Alex Chinneck. Located in Charterhouse Square at the heart of Clerkenwell, the surreal sculpture reimagined architectural logic with an undulating brick façade, complete with windows and doors. Though freestanding and just 15 centimetres thick, the structure stretched 13.5 metres tall and weighed over 11 tonnes – an illusion of softness in stone, inviting passersby to question gravity, permanence and built form.

Automatica stone vending machines by Italgraniti

One of the festival’s most delightfully unexpected moments came courtesy of Italgraniti, whose Automatica installation reimagined the humble vending machine. Positioned across Clerkenwell, the trio of machines adapted by tile contractor Arcitile dispensed porcelain tile samples instead of snacks – offering a playful nod to the brand’s factory automation in Emilia-Romagna, Italy, while inviting passersby to consume design in a new way.

Arch Revival by Hawkins\Brown and Webb Yates for Brick from a Stone

Two elegant arches crafted from single layers of stone bricks from Bricks From a Stone – which offers sustainable stone bricks from British stone suppliers Albion Stone and Hutton Stone – rose from Clerkenwell Green to form Arch Revival. Designed by architecture studio Hawkins\Brown and engineered by Webb Yates, the impressive installation demonstrated stone’s sculptural and structural potential, and highlighted that its use can reduce CO₂ emissions by up to 66% compared to traditional clay-fired alternatives.

Harmonic Tides by Arthur Mamou-Mani

Harmonic Tides by French architect Arthur Mamou-Mani was a poetic ode to water that offered a place for reflection amidst the busy streets. Made from 3D-printed, sugar-based PLA and modules reused from Mamou-Mani’s previous works, the sinuous walls were animated by light and visuals to form a “water corridor” beneath the historic St John’s Gate. A striking example of circular design, the piece wove together material innovation, digital craft and sustainable practice.

Fin by Daniel Schofield for NaughtOne

Fin chair by celebrated designer Daniel Schofield for British furniture brand NaughtOne is a study in soft geometry, equal parts retro futurism and refined restraint. Its low, wide stance and generous curves evoke the optimism of 1960s space age design, yet the detailing and clean lines are thoroughly contemporary – and as a result it felt both instantly familiar and refreshingly original.

Jelly by Jones + Partners for Deadgood

British brand Deadgood brought a dose of play to Clerkenwell with Jelly – a pastel-hued, stackable stool by Brighton-based studio Jones + Partners that channels the squishy charm of childhood sweets. The soft, symmetrical curves invite touch and the stool offers two different seating positions depending on its orientation. “We wanted it to be easy to stack and store, so it doesn’t take up space when it’s not in use and can be moved around quickly to change up the layout of a space,” say the designers.

Relaunch of Pierre Paulin’s F300 chair by GUBI

Though not officially not part of Clerkenwell Design Week, GUBI marked the reissue of Pierre Paulin’s iconic F300 lounge chair by coinciding with the event and showcasing it in the Danish design brand’s refreshed London showroom. The F300 was first introduced in the late 1960s and GUBI collaborated with the designer’s son, Benjamin Paulin, on the reissue. The sculptural, low-slung form remains, but the shell is now made from HiREK, a recycled polymer derived from industrial plastic waste.

Bold Echo by Kaptiza

Installed at The Charterhouse, Bold Echo by London design studio Kapitza transformed the Conversations at Clerkenwell auditorium into a kaleidoscopic burst of colour and geometry. Sisters, Nicole and Petra Kapitza, drew on historic patterns from the venue itself, creating a vibrant backdrop that echoed the festival’s energy and celebrated the joy of expressive design.

“We were inspired by the historic ceilings,” says Nicole. “Even though they are ornate, they are very geometric. We’re putting a contemporary spin on that history, bringing colour and energy into the space.”

Next up: From Venice with architecture: Highlights from the 2025 Biennale