When in Venice, there are countless reasons to visit San Giorgio Maggiore Island. Whether to admire the majestic 16th-century church designed by Andrea Palladio and enjoy the breathtaking view of the city from the bell tower, explore the exhibitions hosted in the Rooms of Glass and Rooms of Photography, or simply take a peaceful walk away from the bustle of the main island, the allure of Italy is undeniable.

This September, however, many—me included—have been drawn to the island to experience the much-anticipated third edition of Homo Faber, a biennial celebration of contemporary craftsmanship, organised by the Michelangelo Foundation for Creativity and Craftsmanship. While previous editions in 2018 and 2022 were built around looser themes and the diverse visions of multiple curators and designers—resulting in solo exhibitions that often varied significantly in form and content—this year's design event signals a bold shift. The ambitious design of the exhibition, whose name aptly translates to "man the maker," was entrusted to renowned filmmaker Luca Guadagnino and rising Italian architect Nicolò Rosmarini. Their involvement has brought about a transformative change, giving way to what is undoubtedly the most daring and expansive iteration yet.

Not only did Guadagnino and Rosmarini create an extraordinary––at once eccentric and profound—scenography, but they also wove a cohesive narrative throughout the various exhibits and the architectural elements that unify them, with the use of mirrors to reflect the island’s natural landscape and the striking light that floods the space. A pastel-hued, kaleidoscope-like colour palette runs consistently across the spaces, while the passerella, which guides visitors through the Borges Labyrinth to the first exhibition stage, connects the interactive experience. Homages to Venetian-born designer Carlo Scarpa can be seen in the pleated fabric walls adorning several rooms - an echo of Scarpa's 1953 exhibition for Antonello da Messina in Sicily.

Devised by the Michelangelo Foundation’s Vice-chair, Hanneli Rupert, the theme of the 2024 exhibition, "The Journey of Life," was entrusted to the two curators who brought it to life across a network of 10 themed rooms. Each space represents a pivotal moment in this metaphorical journey of life, from Birth to the Afterlife, passing through Love (declined into the two different phases of Courtship and Union) and Dreams. Each stage was charted through 800 handcrafted objects sourced from over 70 countries, “made by artisans who, with their talent, tell of a precious and unexpected diversity,” said Alberto Cavalli, Executive Director of the Michelangelo Foundation. The overall scope of this mesmerising, composite exercise shows visitors how craftsmanship is deeply woven into the fabric of our daily lives. The immersive experience is further enriched by a series of workshops, live demonstrations by artisans—many from Richemont’s prestigious maisons, such as Cartier—and participatory events.

Reflecting on the chosen theme, Hanneli Rupert explained, “I wanted something simple that would resonate globally, and simultaneously allow us to show, for the first time, works from around the world. Never in my wildest dreams could I have imagined the beauty and simplicity of vision with which Luca Guadagnino and Nicolò Rosmarini could have interpreted this. I am particularly excited by the geographic variety of crafts and skillsets that we are showcasing side by side, many of which urgently need help to keep them alive for future generations to appreciate.”

For Guadagnino, the appeal of taking on Homo Faber lay in the challenge of storytelling within set parameters. He said, “My job has always been to find a way to tell a story within the coordinates that I’m given. This amazing, streamlined, and universal concept of the Journey of Life allowed us to understand how to engage the audience through the stunning architecture of Fondazione Cini. The craft on display wasn’t overwhelmed, yet the space itself was given significant relevance. It has been an incredible experience of reflection on many of the great inspirations that have shaped our ideas, from Carlo Scarpa to the memory and history of Venice as a city of art.”

It is no coincidence that the Michelangelo Foundation chose Venice as the stage for this immense design exhibition. The city has long been a hub where art, craft, and design converge. Venice’s relationship with craftsmanship runs deep, stretching back centuries. As a key trading post between East and West during the Renaissance, the city attracted artisans from all corners of the world, merging techniques and styles to create iconic Venetian works. Murano glass, still crafted today using the same meticulous methods, remains a symbol of this era when the boundaries between artistic mastery and functional objects began to blur.

This intrinsic bond between Venice and craft has been preserved through landmark design festivals such as the Art Biennale, but perhaps even more so through Homo Faber. While the Biennale often ventures into the avant-garde, Homo Faber feels more grounded, focusing on craftsmanship as something tangible, practical, and fundamentally human. In contrast to contemporary art, which can sometimes feel abstract or inaccessible to many, the handmade objects displayed at Homo Faber resonate on a deeply personal level. For some, Homo Faber serves as an entry point into the world of art and design that feels more approachable than the conceptual art often showcased at the Biennale.

“Homo Faber is my favourite part of the Biennale season,” one visitor remarked, unaware that the two events are not officially connected. “It’s easier for people to relate to because it’s about things we use every day—furniture, clothing, dishes—but made beautifully.” With tickets priced at 16 euros, the immersive exhibition is also more affordable and accessible.

Events like Homo Faber 2024 emphasise that handmade objects are far more than mere functional items; they are emotional anchors, carrying memories and stories, crafted to endure. In this sense, Homo Faber not only offers a glimpse into the current state of global craftsmanship but also ignites discussions about its future. The design fair showcases how traditional design techniques can blend effortlessly with modern design, presenting craftsmanship from all over the world. This fusion is not merely aesthetic; it represents a deeper bond between purpose, process, and beauty, connecting both worlds.

“Homo Faber 2024 highlights the essence of craftsmanship as a responsible way of living, in harmony with the environment and the people within it,” a friend who attended the exhibition shared with me. “In a world dominated by mass production and a throwaway culture, handcrafted goods invite us to appreciate the beauty and quality that come from time, local materials, and short-supply chains.” They added, “By fostering a dialogue about craftsmanship's role in the global cultural conversation, Homo Faber encourages society to champion master artisans, promote education that nurtures the next generation of craftspeople, and celebrate the core values of craftsmanship: responsibility, circularity, connection, repair, resilience, and localism.”

This vision of craftsmanship is timely, merging a celebration of the past with a forward-thinking approach. With Venice as its backdrop—a city synonymous with artisanal excellence—Homo Faber 2024 presents a compelling narrative of how these age-old techniques continue to shape and inspire contemporary design, both within the Venetian tradition and far beyond.