Design movements set to move the dial in 2025

In spaces where direct access to nature is difficult or costly, we are seeing a merging of digital and physical worlds to create ‘phygital’ experiences. We are entering an age of digital natives, those born into technology, rather than adapting to it; generations of people who value and connect with tech on a different level to digital immigrants.  

These phygital experiences can, in the first instance, directly improve wellbeing. Technologies such as ArtMorph by Cecoceco which creates nature replicating moving images (as shown), MoodSonic who replicate local soundscapes, and Portal App which allows escapism to natural environments through our phones and tablets, all offer sensory enhancement through digitally connecting with nature.  

Phygital experiences can also help encourage better governance of our natural environments, particularly where there is an increasing number of children suffering from nature deficit disorder – resulting from a lack of contact with natural environments.  

While nothing will completely replace the feeling of connecting directly with nature, these digital tools can help mitigate the impact of our built-up urban environments and combat nature deficits by promoting wellbeing.  

For the past few years, we, at OHD, alongside our partners at Interface have been delving into life-centered design; understanding how this extension of design practices has and will shape our industry. At the crux of it is an aspiration to design environments and respect the planet in a way that allows all life to thrive.  

So, how do we design to thrive? It’s a complex answer, taking into consideration scale, place, and people…but we can start by creating spaces that are adaptable and flexible, resilient against the changes that inevitably occur across the span of a human life, and beyond. For example, on a domestic scale, spaces that adapt their use with modular furniture, retractable partitions, inbuilt pull-down desks or beds can help adapt to changes in working patterns and home life – something which we saw play out in real time during the COVID-19 pandemic.  

On a larger scale, the conscious selection of materials, addition of green walls, solar panels are examples of ways we can address the environmental impact of design, they also support environmental reporting requirements and reduced costs. This is design for longevity that meets individual, resident, tenant and investor needs, not forgetting our top tier landlord, the planet. 

It’s undeniable that the future of AI has been the topic of many conversations; from around the dining table to the board room, we are all curious (or anxious) about how the technology, and our relationship with AI, will develop and impact our lives.  

From a biophilic, nature-focused POV, we’re interested in how it can be harnessed to positively support ecosystems and design for wellbeing. In Britain, funding from the Rewilding Innovation Fund has been awarded to develop AI. This development aims to help rewilding initiatives to better connect with each other using drones, which will additionally interact with landowners by showcasing how rewilding can benefit the land.  

From a design perspective, there’s a long way to go before AI will be creating interiors with the touch of a button. What we are likely to see, is an increase in the use of AI in procurement and specification, to create clearer environmental parameters for designers and an understanding of supply chains and the impact of materials.  

At times, the advent of technology such as AI can feel overwhelming, making us question our job security, safety and systems; but it’s important to reflect on the fact that technology is very much a reflection of ourselves, and comes with both positives and negatives – both of which we should endeavour to understand.  

While it feels like a lot of the world is progressing into an increasingly digital age, there is also a movement towards building crafts, and how to preserve them. Think thatched rooves, dry stone walls, wattle and daub, to the more obscure mouth-blown sheet glass (which is now classed as ‘extinct’ in the UK).  

The Heritage Craft Association (HCA) is a guiding force in this movement, working to categorise craft at risk and preserve it through vital knowledge exchange and learning; and it seems their actions are moving the dial. The Sussex Heritage trust is offering taster sessions for forty young locals, a reflection of not only the need for these skillsets but also an appetite for them.  

There’s also a move towards craft innovation, taking traditional skills or materials and marrying them with modern techniques, waste, and fabrics. Material Matters, through their ‘Make’ learning platform, research and design practice, are exploring ways to merge craft with low-carbon sustainable construction techniques. This new appreciation for craft marks a new era of making, one which builds on, and respects, the past.