Toogood’s projects usually begin with a theme she’s been stuck on for weeks. For The Hatch, an interactive installation at last fall's London Design Festival, she says: "I had been on holiday and picked up a book on Memphis. Somehow the Memphis group suddenly made sense to me in a way it hadn’t in the past — the humor, the simple geometric shapes, the colors, the fact that everything wasn’t black and slick and serious. It seemed like a reaction against everything that had come before, and in that way felt relevant. The funny thing about The Hatch is that all these creative people, architects and designers, were coming in and getting stuck, like, ‘Oh no, I have to make it myself?’ It was a joy watching them liberate themselves inside what was essentially a play den.”
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Toogood’s projects usually begin with a theme she’s been stuck on for weeks. For The Hatch, an interactive installation at last fall's London Design Festival, she says: "I had been on holiday and picked up a book on Memphis. Somehow the Memphis group suddenly made sense to me in a way it hadn’t in the past — the humor, the simple geometric shapes, the colors, the fact that everything wasn’t black and slick and serious. It seemed like a reaction against everything that had come before, and in that way felt relevant. The funny thing about The Hatch is that all these creative people, architects and designers, were coming in and getting stuck, like, ‘Oh no, I have to make it myself?’ It was a joy watching them liberate themselves inside what was essentially a play den.”