The Museum allows us to come in and build installation projects almost anywhere we like in the Museum, almost on any scale. And that history of that collaboration and partnership is very strong and very rich. This is the seventh year that we’ve been working together and indeed the director of the Museum has been encouraging us to challenge them and to push. What’s wonderful about temporary projects and installations is perhaps you can do things which are different and more challenging than you can with something more permanent. It makes our presence strong here and it brings in new audiences to the Museum. It ensures that our relationship continues in a very kind of diverse and challenging way.

We commissioned this fantastic piece that is behind me, it’s a collaboration with Zaha Hadid Architects and the story of the piece, there’s many stories to the piece, but one part of the story for us is that we are doing a project in Dubai which opens at the beginning of 2016, and Zaha Hadid is the architect for the exterior and interiors of the building, including our hotel. And this piece that has been designed for LDF is actually going to be deconstructed and taken to Dubai and then eventually incorporated into the hotel itself upon completion. 

This is human nature, which is a project which was initially a land art project, so I started three years ago, and four months ago I was approached by the company Perrier-Jouet to collaborate with them and do an installation for the London Design Festival. Because they really liked the idea of celebrating contemporary glass and craft. So we collaborated and made this monumental piece which I have by me. Every cylinder is made by hand and is mouth blown. The aesthetic choice of the colour is that I looked at every cylinder like a pixel, a colour pixel. 

We were commissioned to design something that responds really to the space as well as describing in a way the relationship between our work and the ethos of BMW. Fundamentally we created an experience. Traditionally in our work we design objects that are either used in the home or in the work environment, but this time we’ve upped the scale massively and created an experience, so the objects themselves are not so important, it’s the effect that they create in conjunction with the architecture and the paintings.

The shed was a collaboration between Paul Smith and myself, and sponsored by AHEC and Benchmark Furniture. Within a very short five week period we went from designing the shed to a one week build at Benchmark Furniture, which is Terence Conran’s furniture making company. The shed is 10’x10’x10’, which is the size of Paul Smith’s first shop in Nottingham. The shed itself also rotates, so that you can change the view or follow the sun, and that was influenced by George Bernard Shaw’s writing hut, he had a little summer house at the end of his garden where he used to do his writing. One of the big influences for the shed, is the window from Luis Barragán, who was a Mexican designer from the 1950s. We also looked at fisherman’s huts in Hastings where they used to dry their nets and make these very tall black clad huts.