Death is ‘the last taboo’, said the ex-Green Party leader Caroline Lucas last year as she declared she was retraining as an end- of-life doula. Lucas is not alone in her thinking. In fact, her statement echoes a wider change in perspectives of death in the UK, as conversations about bereavement become mainstream. Urns – ornamental objects that enshrine ashes – have not escaped this phenomenon, which isn’t surprising given that around four in five people are cremated in the UK.
A large-scale urn that can contain the ashes of more than one person stole the show at this year’s London Design Biennale, winning the medal for most outstanding overall contribution. Commissioned by the Arts Council Malta, the installation was a response to the cultural shift that has occurred in the country since cremation was legalised in 2019.
One of its creators, architect Tanil Raif, describes the large limestone piece as ‘a reflection on how we memorialise, how we interact with matter and how death itself can be seen as a return rather than an end’.
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It’s not a one-off occurrence either. Alessi made the urn the subject of its exhibition, ‘The Last Pot’, at Milan design week in April. The work of leading architects and designers, 11 eye- catching vessels for human remains and six for animals were on show as the Italian homeware brand sought to ‘spark interesting conversations around a theme as universal as life and emotions’, according to founder Alberto Alessi. Demonstrating the creative possibilities afforded by the urn, the pieces showcase a range of styles, from Michael Anastassiades’ egg-shaped design to Audrey Large’s pink marble offering.
Such vessels for remembrance are not designed to be encased behind glass within a gallery, however, and demand for unique, contemporary urns in the real world is on the rise. At the forefront of this change is Urn Studios, founded in 2024 by Jonathan Hancock and Merel Swart. The platform commissions creatives to design pieces that push the traditional idea of what an urn should be, filling a gap in an otherwise homogeneous market.
‘Surprised by the absence of more artistic designs, I began exploring the possibility of collaborating with artists, merging the art world with the memorial space,’ recalls Hancock. Other than providing advice on dimensions, sealing and structural durability, artists are given carte blanche.
‘Fortunately, in the UK there are no strict legal requirements around urn design,’ explains Swart. ‘This freedom allows for the creation of truly personal, unexpected pieces that invite people to honour their loved ones with warmth and authenticity.’
