 Yn ystod y cyfan yw'r grffwch yn cyflawni gwaith o'r Portugol, os ym Llisbon, Caterina Carreras. Mae hyn yn ddigonol i'r cyfan ystod o'r cyfan sy'n gwneud y 3D sy'n gwybod. Yn i'n ddod, mae'n gwybod, mwy gŵr o'r cyfan yn gwybod, mae'n ddod ystod o'r cyfan sy'n gwneud cyfan o'r cyfan o'n gwybod. We are Fabrica. Fabrica is a creative research lab funded by Benetton based in Italy. It's a residency programme for young people of all different creative disciplines from video making to interaction design, graphic design, music, creative writing and we are a representative of the design department which is the department which focuses on products and furniture and installations. I'm Dean Brown, I'm from Scotland. And I'm Kersti and I'm from London and a product designer. I'm Georgia, Benelato and I'm a further designer as well. Mexico Bands is a project about nomadic structures, nomadic living, travelling, pop-up culture, small spaces. So the project was inspired by this temporary structure. It's a structure that we found in an antiques market in Scotland and basically the structure is a kind of redundant structure from many many years ago. What we think it's for is for fishing or for sheltering you when you're like at the beach or something like this. But basically there's kind of clues about what it's about. What we do know is that it's no longer in use, it's a kind of redundant old fashioned idea. And this project is kind of about trying to revive the structure and find contemporary interpretations for what it can be used for now. This is the mobile museum which is a project by Philip Bone who's a graphic designer from England and myself. And it's called the Mobile Museum. Basically it's a mobile museum and in that sense it is everything that a real museum has but on a micro scale. We try to curate small exhibitions which are always related to the location and related to the place that it travels to. So every time we come to a new place we have a new curatorial theme. For Luxembourg we chose the theme of money and everything that you can see here is an item that's been donated to the museum by international creative people responding to the theme of money. We think that if you put all these things together they kind of speak very loudly and they speak bigger than each item on it. Yes we have merchandise, we have postcards, in previous events we've had posters. Sometimes we've had coffee shops. In the first event in Milan we had a coffee shop but in this case we had so many contributions that we didn't have space to have a coffee shop. So this is the net cabane, this is my cabane, I'm Georgia. For this cabane I decided to start from the original one that probably belonged to fishermen so I decided to use the rope because of that environment and so I decided to combine the ropes with the structure because they can work really well together in the way that the rope helps the structure to be fixed and the structure helps the ropes to draw and to define this space. So I decided to do a kind of space, a room where the ropes define the ceiling, the sides and the floor and basically these two materials together works really well in that sense. This cabane is called Softfold and it's by Marie Desanc and Margot Keller who are both French industrial designers and they were kind of using fabric as a way to kind of define a small room. So they're playing with this idea of the fabric becoming the wall and the fabric becoming the floor. Basically it's a kind of chill-out room for reading a book or using a laptop or relaxing and it's sort of like blurring the boundaries between textiles and structure and furniture. A really interesting detail is this neon light where you have this yellow piece, you have a neon light installed inside. You have a cool blanket that can basically be folded over and covering yourself if it's cold. This little table here is designed especially for a laptop. The circle on the top is for the cable to pass through. So basically it can kind of be like a home office space or a reading space or a space that's really easy to travel. Basically because everything's made of fabric you can pack it very easily and take it somewhere else. Okay, so this cabane is by Valentino Carretta and Gustavo Milion who is a Chilean photographer and an Italian product designer. So the cabane is about going back to nature and this canopy and the photo was by the photographer so he wanted to pick this environment and I guess it's also taken from this idea that the structure was made to be outside. So all the elements as well are using the materials in their sort of basic states. So using like the trunks of the wood with the mirrors to sort of reflect this canopy. So this is my cabane by Casey Minns. My cabane was looking more at maybe more awkward spaces and the idea of a waiting room. So this idea that you have to face time and be more conscious about time. So this was what the project was about. This was about counting days in the year, more about time hours in the day and then this was more about seconds and minutes. So it's this whole principle that you have to... Facing time is about facing your own existence and that's what this cabane was trying to discuss. But also by the fact that this structure is temporary that was another layer about this whole idea of time and temporality. This cabane is by Amory Poudre, a French designer and Brian Wood who is an American graphic designer and it's called Rod. Basically what they wanted to do was to use the cabane structure itself and only the cabane without adding anything but to make an interpretation without any extra ingredients. So this was their challenge. And basically what we see here is a half dismantled cabane and then the structure that was removed from the cabane is creating this new piece which is a kind of sculptural interpretation of a clothes hanging rack or something kind of ambiguous but basically you get the sense that it could be used for something. It was kind of talking about flat pack culture and deconstruction culture but not in a very poetic way. And basically what we see here in terms of the colours is that you can really relate to the individual elements because you can see that the blue piece here is corresponding to the blue piece there. So there's a kind of coordination between the original cabane and then it's new interpretation. And I think also they were very much interested in the fact that the cabane structure in itself was well designed so in a way adding something to it wasn't the answer which I think is quite interesting. We're looking at it.