Surface Design Show 2026: Designing with Life, Mind and Material in Mind

Yesterday I spent the day at the Surface Design Show 2026 at the Business Design Centre, and I left feeling genuinely inspired, not just by the beauty of the materials on display, but by the depth of thinking behind them. Sustainability, biophilia, neurodiversity and material innovation weren’t treated as buzzwords, but as essential design tools for creating spaces that are healthier, kinder and more human.

From thought-provoking seminars to tactile, playful and often surprising material applications, the show felt like a snapshot of where design should, and hopefully will, be heading.

Designing with Life in Mind: A Biophilic Guide to Better Surface Material Choices

One of the highlights of the day was the seminar “Designing with Life in Mind: A Biophilic Guide to Better Surface Material Choices”, moderated by Vanessa Champion and featuring Grant Gibson, Nina Woodcroft and Nigel Oseland. The discussion reframed biophilic design not as a stylistic trend, but as a rigorous, evidence-based framework for material and surface selection.

Nigel Oseland spoke about how the "human brain yearns for nature" a result of years of evolution, and how this deeply embedded relationship affects how we feel, behave and heal in spaces. Studies show that biophilic features in hospitals can speed up recovery, and that biophilic environments can measurably boost creativity and wellbeing. These aren’t abstract ideas; they are outcomes designers can influence directly through material choice.

One particularly interesting point was that silence can actually be disturbing. In nature, silence often signals danger, so overly sterile or acoustically “dead” spaces can trigger discomfort rather than calm. This reinforced the idea that biophilia isn’t about mimicking nature visually, but about understanding sensory response to sound, texture, temperature, tactility, and how materials mediate those experiences.

There was also a refreshing critique of the word “sustainability”, which the panel suggested has become diluted through overuse. Instead, circular, carbon-negative/neutral, non-polluting and regenerative design were positioned as more accurate and meaningful frameworks. Materials should be durable, repairable, crafted with care, and designed with their full life cycle in mind.

Examples like Heatherwick Studio’s modular planter desk 'Stem', developed for London Design Festival, illustrated how biophilic thinking can be embedded into everyday objects; blending function, nature and wellbeing seamlessly. Small details matter too: choosing wooden door fixtures instead of metal in cancer care centres, for example, can create a warmer, less clinical sensory experience.

The seminar closed on the importance of designing with a sense of humanity and care. Biophilic design isn’t just about plants, it’s about empathy. I’ve since added the 14 Principles of Biophilic Design and the Journal of Biophilic Design to my ever-growing reading list.

Vanessa Champion left us with a wonderful ending question: "if you had a biophilia paintbrush, what would the world look like to you?" I am already thinking about how that paintbrush might guide the small, everyday design choices that reconnect us with nature, even in the most ordinary of spaces.

Navigating Neurodiversity: Designing Spaces for Diverse Thinking

Another standout session was “Navigating neurodiversity: designing spaces for diverse thinking”, hosted by Guy Stanley, with panellists Paula Rowntree, Michelle Ogundehin, Tim Hatton and Alexander Matthams.

What resonated most was the rejection of “one-size-fits-all” design. Instead, the panel discussed creating a ‘deep end’ and a ‘shallow end’ within environments, offering spaces that cater to a wide spectrum of sensory needs, preferences and energy levels.

Michelle Ogundehin highlighted that while neurodivergence itself has the biggest impact on how people experience space, the built environment affects behaviour far more than we previously realised, even for neurotypical users. Autonomy and choice emerged as essential design principles: control over lighting, seating, noise levels, location and posture can dramatically reduce sensory friction.

I loved Paula Rowntree’s observations that hotels often have the best wayfinding and signage: intuitive, clear and low-stress; and the push to move from “sensory friendly” to “sensory intelligent” design.

There was also a powerful discussion around destigmatising neurodivergent spaces. Renaming neurodivergent specific spaces, such as from "quiet space" to “focus desks”, or positioning them thoughtfully so users aren’t singled out, helps normalise difference rather than marking it as ‘other’. As Paula Rowntree put it so simply and beautifully:

Michelle Ogundehin’s metaphor “Are there more stars because we invented telescopes?” was a brilliant way of reframing rising neurodivergent diagnoses. Visibility doesn’t mean prevalence is new; it means understanding has improved. Tools like sensory maps, such as those recently introduced by Lloyds, feel like a practical and exciting step forward.

Creative, Sustainable and Seriously Impressive Materials

Beyond the talks, the show floor itself was a treasure trove of innovation. A few standout products that really stayed with me:

Plasticiet – using £2.5 million worth of shredded British banknotes to create bespoke furniture for the Bank of England Museum, as well as stunning surfaces made from polycarbonate waste, including the iridescent Mother of Pearl collection

Richlite – a ‘wood-like’ material made from compressed paper with a binding agent, balancing durability with warmth.

Rahat Rai Designs – Done & Dusted Slippers made entirely from dust — playful, poetic and thought-provoking

Pierreplume – acoustic surfaces made from old teddy bears and discarded fabrics, with up to 80% recycled content. Comfort, nostalgia and sustainability rolled into one.

Tactile by P+D – wall coverings and artworks using printing ink to create rich, 3D tactile effects

Surf Block – insulated concrete forms created from recycled EPS surfboard waste

Sway – intricate artworks made from metal chain links, including a jaw-dropping portrait of Marilyn Monroe

Ottan – transforming food and agricultural waste (like pistachio, egg and hazelnut shells) into 100% recyclable materials for cladding, furniture and worktops

Smile Plastics – bold, characterful surfaces made from recycled plastics, textiles, fibres, denim and discontinued samples

KAVA Surfaces – beautiful surfaces created from used coffee grounds and organic waste

Carbon Cell – developed by Elizabeth Lee, Ori Blich and Eden Harrison at Green Grads; a fully compostable, non-toxic and carbon-negative alternative to polymer foams, using biochar

Sustainable Ply – plywood with a corrugated cardboard core, with optional cork backing for enhanced acoustic and thermal performance

What struck me most was how playful many of these materials were. Sustainability here wasn’t austere or limiting; it was expressive, tactile and full of personality.

Final Thoughts

The Surface Design Show 2026 felt like a reminder that materials are never neutral. They shape how we feel, how we behave, how we heal and how we connect with spaces and each other. Whether through biophilic principles, neurodiversity-led thinking or radical approaches to waste and circularity, the designers and makers on display were designing with life in mind.

I left inspired, challenged, and very excited about where surface design is heading next.