Alyn Griffiths
Alyn is a freelance writer and editor who contributes to some of the world’s leading architecture and design publications, including Dezeen, Blueprint, Icon, Wallpaper, Interior Design and CNN Style.
He is also the author of 21st Century Lighting Design, published by Bloomsbury in 2014, and former design editor at Port magazine.
Alyn studied product design at Glasgow School of Art before moving to London in 2008, where he lived for eight years. He is now based in Edinburgh, Scotland.
Stories by Alyn Griffiths
Jane Withers picks five projects that don’t “take water for granted” from MK&G exhibition
Paris 2024 Olympic Village features street lamps made from salvaged building materials
Soft Solids lighting has infinitely recyclable wax shades
Destudio inverts day and night zones at redesigned Casa Inversa apartment
Mooradian Studio sprays London boutique interior with recycled newspaper pulp
Multipurpose rooms optimise space at Ulli Heckmann’s Rotterdam apartment
Isern Serra completes “serene” office for Spanish eyewear brand
FDA designs playful colour-block interiors for Italian seaside hotel
Cassina models Lancia car interior on Italian living rooms
Lenovo reveals “industry’s first” laptop with transparent display
Nendo designs beer glass that provides “three different mouthfeels”
Migaloo aims to disrupt superyacht market with giant luxury submarine
Moss creates self-watering Grow Lamp to simplify indoor gardening
Ombak chair consists of 2,000 plastic bags salvaged from Bali’s rivers
Tigh Na Coille cottage receives “Scandi-Scot” makeover
Collcoll hides stairs and seats in pixellated wooden structure at Pricefx office
Pininfarina designs “world’s cleanest snowmobile” for Vidde
Vincent Van Duysen transforms Milanese palazzo into “sensual” Ferragamo store
Architectural landmarks star in “utopian” poster for Paris 2024 Olympics
Byró Architekti “blurs old and new” at renovated House in Kutná Hora
ORA creates modern home in 500-year-old Czech Renaissance building
Furniture made from scrap aluminium carries “traces of giant factory saws”
