Architecture News

Art Everywhere: Reclaiming Stories, Rekindling Connections

Unearthing Narratives: Yinka Ilori's Decade-Long Dialogue with Discarded Chairs

For ten years, Yinka Ilori has been engaged in a distinctive artistic dialogue centered around chairs. His latest exhibition, 'Chairman,' brings this extensive collection back to Islington, North London, the very neighborhood where his formative years unfolded. Hosted at the Walter Sickert Community Centre from October 14th to 16th, 2026, the event coincides with Frieze London and UK Black History Month. This showcase represents a homecoming for works deeply influenced by the vibrant tapestry of people, cultures, and daily life in the area. Ilori’s artistic philosophy elevates chairs beyond mere utility or design collectibles, instead positioning them as conduits for memory, identity, and the intricate web of relationships that coalesce around familiar objects.

From London Bus Windows to Artistic Inspiration: The Genesis of Ilori's Chair Obsession

Ilori's fascination with chairs began with a fleeting glimpse of a discarded piece of furniture from a London bus. He vividly recalls this pivotal moment, noting how an object on the verge of being cast aside instantly captured his attention. This encounter prompted a re-evaluation of unwanted furniture and its latent potential. He began to ponder the untold stories of items left on city streets, contemplating their possible rebirth. This intuitive inclination to find value in what others overlook has remained a cornerstone of Ilori's creative practice. He meticulously collects and revitalizes existing chairs, imbuing them with new identities through a masterful application of color and pattern, all while honoring their inherent histories. He reflects on how chairs, omnipresent in our lives, rarely prompt us to consider their past—who sat on them, what stories they witnessed, their journeys, and why they were eventually abandoned. These questions fueled his initial drive to collect and create with them.

Chairs as Emotional Reservoirs: Exploring Identity and Shared Human Experience

For this acclaimed British-Nigerian artist and designer, a chair's significance extends far beyond its physical form or aesthetic appeal. It resides within the shared lexicon of daily existence, intrinsically linked to domestic rituals, social gatherings, and communal spaces. He emphasizes the ubiquitous role of chairs in countless everyday moments, from family dinners to barbershop visits and classroom learning. This pervasive presence, he believes, imbues them with a unique emotional resonance, making them vessels of memory, meaning, and sentiment. The universal familiarity of chairs allows individuals to connect with Ilori's work on a deeply personal level. Despite his transformative use of colors, shapes, and patterns, the inherent recognizability of the chairs endures. This enables visitors to engage with the art through their own personal histories and experiences, requiring no specialized knowledge of design. He elucidates that understanding a chair doesn't necessitate design expertise; rather, it's the individual's personal experiences brought to the object that initiates its narrative.

'Chairman': A Retrospective of Chair Art and Cultural Heritage

Ilori's inaugural book, 'Chairman,' published by ORO Editions in the autumn of 2026, chronicles over a decade of his chair-centric creations through a rich tapestry of photography, archival materials, studio documentation, essays, and interviews. The publication delves into how his British-Nigerian heritage and London upbringing have shaped his distinctive approach to furniture, while also considering the diverse interpretations audiences bring to his pieces. Although his chairs draw inspiration from his childhood memories in Islington within a Nigerian household, Ilori intentionally cultivates an openness that allows others to discover their own narratives within the works. He notes that while he might be reflecting on his own past, another viewer might see a chair and recall their grandparents' home or cherished family meals. For Ilori, the art lies in creating something deeply personal yet universally resonant, sharing his story while leaving ample room for others to find theirs.

Bringing Art Home: Reconnecting Creations with Their Community Roots

The decision to host the exhibition in Islington forges a direct and meaningful link between the artwork and the neighborhood that nurtured Ilori. At the Walter Sickert Community Centre, his chairs return to the very community that was instrumental in shaping his artistic vision, offering local residents a unique opportunity to engage with the pieces through their own memories and lived experiences. This choice of venue also powerfully reflects Ilori's deeply held conviction that art should transcend the confines of traditional museums and galleries, becoming accessible to all. He shares the profound significance of bringing 'Chairman' back to Islington, acknowledging it as the birthplace of much of his personal narrative. Growing up amidst the diverse people, cultures, and urban landscapes of North London, he unconsciously absorbed these influences, which continue to manifest in his work today.

Beyond the Gallery Walls: Art as a Catalyst for Community Connection

For Ilori, the community center provides a setting that perfectly aligns with the social objectives embedded within his chair designs. He cherishes the idea of a local resident encountering a chair and being transported back to a personal memory. He views the neighborhood itself as a vibrant repository of cultural wisdom, asserting that its histories merit recognition far beyond the established structures of art institutions. Ilori considers the Walter Sickert Community Centre to be of greater significance than any conventional institution, believing that the community's rich history and profound connections render it a living museum, with its residents serving as walking artifacts. He actively seeks to dismantle the notion that art must be displayed in specific venues to gain recognition, emphasizing the importance of bringing art directly to people, acknowledging that not everyone has the opportunity to visit museums or galleries. By scheduling the exhibition during Frieze, Ilori aims to divert attention towards a neighborhood that might otherwise be overlooked by the art world's typical routes. Ultimately, his goal is to broaden the discourse around how individuals interact with art, asserting that art is not confined to a single week or location, but can be encountered everywhere.

The Transformative Power of Color: From Visual Impact to Shared Human Interaction

The vibrant colors and intricate patterns that characterize Ilori's chairs bestow upon them an immediate and captivating presence, enabling them to command attention even in public spaces where art may not be actively sought. Beyond the initial visual impact, the designer is keenly interested in the subsequent interactions an object elicits—whether it prompts a pause, a photograph, a moment of contemplation, or initiates a conversation. He explains that color possesses the remarkable ability to alter the mood of a space and one's own emotional state, compelling individuals to notice things they might ordinarily pass by. Unlike a pre-planned gallery visit, encountering one of Ilori's chairs in a street or community setting often occurs spontaneously, without prior knowledge of the artist. He describes this unpredictability as where the true magic begins, noting that an encounter might evoke a smile, inspire a photograph, or spark dialogue among strangers. He cherishes this element of surprise, aspiring for his work not only to capture attention but also to foster connections and leave a lasting impression on those who experience it.

Art as an Invitation: Encouraging Engagement and Personal Interpretation

The designer actively encourages people to interact directly with his chairs. While a chair can serve its primary function, it also has the power to ignite curiosity and invite fresh perspectives. Ilori expresses his desire for viewers to move beyond passive observation, instead encouraging them to engage with his work, spend time with it, and forge their own memories around it. For him, chairs are fundamentally about bringing people together, and witnessing this communal interaction unfold in myriad ways is deeply significant. He aims for his creations to be accessible and engaging, fostering a sense of shared experience and personal connection within the community.

MABI ARCHITECTS has skillfully transformed the historic Enmeiyu public bathhouse, originally constructed in 1983 by Yoshiji Takehara, into a modern men's bathing sanctuary known as Shizunoyu Fukushima. This ambitious project aimed to breathe new life into the aging structure while meticulously preserving its distinctive architectural heritage. The renovation successfully merges traditional design elements with contemporary amenities, creating a unique space for relaxation and community engagement.

Historic Japanese Bathhouse Reimagined for Modern Wellness

In a remarkable architectural endeavor, MABI ARCHITECTS embarked on the transformation of the Enmeiyu public bathhouse, a cherished landmark from 1983, into the sophisticated Shizunoyu Fukushima. Located in Osaka, Japan, this project stands as a testament to the seamless integration of historical preservation and modern functionality. The design team, led by MABI ARCHITECTS, focused on retaining the bathhouse's iconic curved forms and intricate tilework, which are central to its original character. The washing areas, in particular, saw a careful restoration where as many original tiles as possible were preserved, ensuring a continuous link to the building's rich past. Complementing these conserved features, a suite of new facilities has been introduced, including a refreshing cold plunge pool, a state-of-the-art sauna, an expansive outdoor bathing zone, a serene indoor relaxation area, and a stylish bar counter. These contemporary additions are thoughtfully interwoven with the existing materials and spatial design, creating a harmonious blend of old and new. The signage for the renovated facility was crafted by Yusuke Sakurai, with the logo designed by Hiroaki Endo of NEWMAN Inc. The construction was expertly carried out by Kikuchi Soken Co., Ltd., with collaborative efforts from SCIENCE Inc. Tile Capsule (BOWCS Inc.) and Nakamura Inc. The stunning visuals of the revitalized space were captured by dig photograph. The new Shizunoyu Fukushima is envisioned not merely as a bathing facility but as a vibrant social hub, continuing its legacy as a cherished gathering place for informal interactions and conversations among diverse generations within the local community.

This renovation exemplifies how architecture can honor its roots while evolving to meet contemporary needs. By preserving the soul of the original bathhouse and integrating thoughtful modern touches, MABI ARCHITECTS has created a space that celebrates history, promotes wellness, and strengthens community bonds. It serves as an inspiring model for future projects aiming to revitalize cultural heritage in an innovative and sustainable manner.