snøhetta makes tiles out of electronic waste glass in 'common sands – forite'

Emily Packer, a British/American videographer, identified a critical issue in global plastic recycling, noting that only about 9% of plastics are actually recycled in America, and observed significant waste accumulation in Kigali, Rwanda. This motivated her to shift from environmental storytelling to creating a tangible local impact. Partnering with Jake Calhoun, she co-founded Coldharbour Tiles, an initiative that transforms Rwanda's plastic waste into durable, stylish home decor materials. The project's core involves melting down high-density polyethylene (HDPE) plastics, primarily from bottle caps, to create decorative tiles. Approximately 50 bottle caps are required for each tile, demonstrating the significant volume of plastic that can be diverted from landfills and waterways through this process. Coldharbour Tiles are designed for various home applications, including backsplashes, and the team provides guidance and design ideas to customers through a free tile information brochure. Packer's journey began after an internship with the United Nations Environmental Program, which highlighted the environmental consequences of inadequate waste management systems in developing countries. She recognized the pervasive nature of single-use plastics and the illusion of waste being simply 'thrown away,' realizing it often ends up in oceans, landfills, or other countries. Moving to Rwanda, she initially attempted to reduce plastic waste through a café that used biodegradable containers and bamboo straws, but soon recognized the unavoidable reliance on plastic in daily life, prompting her to seek a more impactful solution with long-term utility. To establish Coldharbour Tiles, Packer collaborated with Jake Calhoun, who brought experience from a social enterprise and an online food delivery company. They partnered with Kigali's IPRC engineering school, which provided a warehouse facility and technical support from professors and students. Initially, Packer personally collected HDPE plastic from waste management sites, demonstrating the project's grassroots origins. Through extensive experimentation with color, temperature, cooking times, and mold designs, they refined their tile production process despite limited engineering experience and funding. The team encountered challenges, particularly in scaling production. Their current facility, while effective for initial development, lacks the capacity for large-scale orders. The Kickstarter campaign aims to raise funds for essential equipment like a plastic-waste washing machine and commercial shredder, which would significantly boost production capabilities. The long-term vision for Coldharbour Tiles includes becoming a leader in the eco-tile industry, processing thousands of tons of plastic waste annually, and establishing manufacturing sites in Asia, Europe, the U.S., and Africa to address plastic waste globally and connect with diverse consumer markets. This expansion would also address the logistical challenges of operating in Rwanda, where access to advanced manufacturing technology is limited, necessitating creative, hands-on solutions for processes like mold design and fabrication. #SustainableDesign #RecycledMaterials #HomeDecor #PlasticWaste #Rwanda #SocialEnterprise #Crowdfunding #EcoTiles #WasteManagement

Particular Tile, a Montrose-based company, is transforming excess clay sediment from the Paonia Reservoir in western Colorado into hand-cut ceramic tiles. This innovative approach addresses two environmental problems: the shrinking capacity of the reservoir due to sediment accumulation and methane emissions from nearby abandoned coal mines. Christopher Caskey, a scientist and founder of Delta Brick & Climate Company (which includes Particular Tile), developed this sustainable business model. The Paonia Reservoir, constructed in 1962, has lost over a quarter of its storage capacity, impacting crucial water supplies for local agriculture. Simultaneously, abandoned coal mines in the vicinity release methane, a potent greenhouse gas. Caskey's vision was to utilize the high-quality clay sediment from the reservoir to create a product, while eventually powering the tile production with captured methane from the mines. This dual solution aims to mitigate environmental damage and create a valuable resource. The tiles, marketed under the brand Particular Tile, are characterized by a rich terra-cotta base color, derived from the natural iron content of the clay. They are offered at a price point starting from $30 per square foot and come in a variety of shapes and over 50 glaze hues, with customization options available. These tiles are designed for applications such as showers, backsplashes, and floors, providing a high-end aesthetic. The appeal of these products is enhanced by their positive environmental impact, as their production contributes to the ecological restoration of the region, even if on a smaller scale compared to the overall environmental challenges. Caskey acknowledges that while the company's efforts are not a complete solution to the climate crisis, they represent a step towards more sustainable practices and a shift in how communities interact with industrial sites after their primary purpose has ended. The manufacturing process of Particular Tile involves several distinct stages. The first step, "Remove," entails extracting the sediment from mud flats exposed during the annual draining of the reservoir, which is then transported to the factory. Following this, in the "Mix & Prep" stage, water and grog (a type of coarse sand) are added to the sediment and processed using specialized machinery. This enhances the material's texture and durability. The "Cut and Dry" phase involves hand-punching shapes into the clay, akin to using cookie cutters, followed by hand-trimming and a drying period of at least a week to prevent cracking or warping. Next, the tiles undergo a "Bisque Fire & Glaze" process, where they are fired in kilns at nearly 2,000 degrees Fahrenheit to fuse the clay particles into water-resistant ceramic, after which a glaze is applied. The final stage, "Glaze Fire," involves a second kiln heating, which melts the glaze into a colored glass layer on the tile's surface. Particular Tile products are available through Decorative Materials showrooms and direct orders via their website. #SustainableManufacturing #CeramicTile #ReservoirSediment #MethaneCapture #EnvironmentalInnovation #HomeDesign #ColoradoBusiness #EcoFriendlyProducts

Electronic waste, or e-waste, significantly contributes to the global trash problem, with gadgets and devices frequently ending up in landfills at the end of their lifecycle. Joe Doucet, a designer known for his minimalist and thought-provoking aesthetic, has addressed this challenge by creating a piece of furniture that highlights the potential for repurposing discarded materials into functional and aesthetically pleasing objects. Doucet's OLO Table is a prime example of sustainable design, crafted from electronic waste such as old refrigerators, keyboards, and computer mice, which are given a new purpose. The core material used in the OLO Table is Polygood Oyster, manufactured by The Good Plastic Company. This material is made from polystyrene meticulously extracted from various electronic waste sources. Once collected, the polystyrene undergoes a thermoforming process, utilizing heat and pressure to mold it into the desired shapes, specifically for the table's base. The distinctive characteristic of Polygood Oyster is its inherent beauty derived from the recycling process; it retains colorful flecks and fragments from its original electronic components. These visual elements are not considered imperfections but rather serve as a historical narrative, with each table subtly telling the story of its previous life. This unique visual aspect adds considerable depth and character to the OLO Table, making it a compelling conversation piece. The table's design further reinforces its sustainability message through its fluid geometry, featuring a seamless and monolithic top that transitions into semi-circular legs. This continuous form visually embodies the closed-loop design philosophy advocated by both Joe Doucet and The Good Plastic Company. This approach emphasizes the cyclical nature of materials, where discarded resources are reintegrated into a closed system, thereby minimizing waste and maximizing material value. More than just an attractive furniture item, the OLO Table conveys a significant message about circularity and the inherent value found in waste. By utilizing discarded electronics, Doucet directly confronts the escalating issue of e-waste, transforming what is typically considered refuse into a desirable and practical object. This innovative method challenges conventional perceptions of waste and underscores the considerable potential for creative upcycling within the design industry. Although the OLO Table is a unique, one-off creation with no current plans for mass production, it stands as a powerful statement on sustainable practices. #Ewaste #SustainableDesign #ClosedLoopDesign #FurnitureDesign #RecycledMaterials #PolygoodOyster #JoeDoucet #ProductDesign #CircularEconomy

The article discusses Forust, a new additive manufacturing process developed by Desktop Metal, which utilizes wood and paper waste, specifically sawdust and lignin, to create wood products. Unlike existing wood-infused filaments that lack realistic wood grain, Forust aims to produce items that closely resemble natural wood. The technology employs a single-pass binder jetting method, where layers of sawdust and lignin are laid down and bound together with glue. While the press release does not detail a curing process, typical binder jetting processes often involve post-processing for enhanced solidity and longevity, usually with ceramic or metal-based materials. A key innovation of Forust is its ability to digitally reproduce various wood grains, including exotic types like rosewood, ash, zebrano, ebony, and mahogany. The printed parts can be sanded, stained, polished, dyed, coated, and refinished, similar to traditionally manufactured wood components, and will support a range of wood stains such as natural, oak, ash, and walnut. This capability suggests a potential for creating custom and luxury wood products, from decorative items like pencil cups to furniture, leveraging the geometric flexibility offered by additive manufacturing. The durability and strength of these printed wood items are crucial, especially for applications like furniture, where structural integrity is paramount, as opposed to purely decorative items. Forust's overarching goal is to contribute to environmental sustainability by reducing the need for virgin wood and promoting a circular economy. The company envisions the recycling of its products at their end-of-life into new goods, thereby minimizing waste and conserving natural resources. However, the reliance on the traditional wood industry for its primary materials—sawdust and lignin—raises questions about how truly circular and independent the process can become without a sustained source of wood processing waste. The article also briefly touches upon other methods of working with wood waste in additive manufacturing, such as a printer that stacks particle board layers and carves them with a CNC machine, highlighting the evolving landscape of wood-based 3D printing. The development of Forust represents a significant step towards creating more sustainable and aesthetically versatile wood products, offering an alternative to traditional woodworking methods and wood-infused plastic filaments. The technology's success will depend on its ability to produce strong, durable items that can genuinely mimic the feel and performance of natural wood, particularly for functional applications. #SawdustPrinter #AdditiveManufacturing #WoodWaste #BinderJetting #SustainableMaterials #WoodGrain #3DPrinting #CircularEconomy #Forust

Studio GdB, founded by Gilles de Brock and Jaap Giesen in ‘s-Hertogenbosch, The Netherlands, has revolutionized ceramic tile production through the development of a custom-built digital printer. This innovative machine allows for the computer-controlled application of liquid glazes onto ceramic tiles in their biscuit state, resulting in unique and highly customizable designs. The studio's process addresses a previous limitation in finding suitable finishes for their design vision, prompting them to engineer their own solution. This bespoke technology enables them to create a diverse range of patterns and vibrant color schemes, offering endless possibilities for aesthetic expression in tile design. The tiles produced by Studio GdB are characterized by their bold colors and visually complex, almost psychedelic patterns, which evoke a handmade quality despite being digitally fabricated. This blend of precision engineering and artistic flair allows for a broad spectrum of design choices, from subtle and understated to highly intricate and elaborate, catering to various design preferences. The custom printer's capability to accurately apply liquid glazes directly onto the ceramic surface ensures a high level of detail and consistency in each tile, surpassing the limitations of conventional manufacturing methods. The development of this specialized machinery highlights a creative approach to overcoming technical challenges in the design and production of ceramic tiles. By taking control of the manufacturing process, Studio GdB has opened up new avenues for customization and artistic experimentation within the realm of interior design materials. The studio's commitment to innovation has enabled them to achieve desired finishes that were previously unavailable, offering designers and consumers access to truly distinct and personalized tile options for various applications, from staircases to coffee tables and backsplashes. The resulting product line from Studio GdB provides an opportunity for integrating unique and visually striking elements into interior spaces, allowing for highly personalized and dynamic environments. The ability to create seemingly infinite patterns and color combinations means that each project can feature a bespoke tile installation, reflecting individual tastes and design concepts. This innovative method bridges the gap between traditional craftsmanship and modern technology, creating ceramic tiles that are both a functional building material and a work of art. The tiles are suitable for diverse settings, adding a distinctive touch to both residential and commercial projects. #CeramicTiles #DigitalPrinting #CustomDesign #InteriorDesign #StudioGdB #HomeDecor #ArchitecturalSurfaces #GlazeApplication #InnovativeManufacturing

Ceramiche Refin, an Italian tile manufacturer established in 1962, has introduced its latest porcelain tile collection named Craft. This new range draws inspiration from the aesthetic of hand-applied cement surfaces, aiming to replicate the unique marks, strokes, and shadows typically found on architectural finishes created manually. The design philosophy behind Craft is to imbue industrial products with an artisanal feel, moving away from a uniformly manufactured appearance to one that suggests handmade origin. The in-house design team at Ceramiche Refin conducted extensive research into traditional craft techniques and the inherent characteristics of cement materials from various sources. This investigative process informed the development of surface patterns that faithfully reproduce the visual effects of hand-troweled cement. The resulting ceramic tiles exhibit a non-uniform aesthetic, characterized by a range of tonal differences, from light to dark shades, and visible brush strokes and tool marks, all of which are hallmarks of materials applied by hand. Craft tiles are engineered from grés porcelain, a material known for its durability and resilience. The manufacturing process involves vitrification, where clay is compacted under hydraulic pressure and then fired in a kiln. This process significantly reduces the material's porosity, rendering the tiles highly resistant to common issues such as stains, scratches, frost, and chemical damage. These robust properties make the Craft collection suitable for a wide array of applications, including both indoor and outdoor installations. To cater to diverse design requirements and spatial dimensions, the Craft collection is available in several sizes. Larger formats, including 120 by 240 centimeters and 120 by 120 centimeters, are specifically designed for more expansive areas such as public spaces and building facades. For smaller areas and residential projects, the collection offers more compact sizes, including 60 by 120 centimeters, 60 by 60 centimeters, and 30 by 60 centimeters. This variety in sizing provides flexibility for architects and designers to integrate the tiles into different scales of projects. Color options for the Craft range are thoughtfully selected to enhance the cement-inspired aesthetic. The collection offers four distinct colors: Rice, Tan, Cloud, and Fog, which span a spectrum from lighter to darker tones. These color choices, combined with the textured patterns, allow for the creation of various moods and atmospheres, from bright and airy to more subdued and earthy environments. Ceramiche Refin leverages state-of-the-art manufacturing processes that integrate advanced surface texture techniques with digital printing. This technological sophistication enables the company to produce contemporary tile collections that are versatile enough for a broad range of design applications. The Craft collection stands as an example of how modern industrial production can be utilized to mimic and celebrate traditional artisanal craftsmanship. Prior to the Craft collection, Ceramiche Refin has launched other innovative tile series, demonstrating their ongoing commitment to design and material exploration. These include a collection inspired by fabric textures, known as Arte Pura, developed in collaboration with Daniela Dallavalle, and a range called Wide, which features patterns of lines and grids that simulate hand-drawn chalk designs. These previous collections, much like Craft, aim to bring unique visual and tactile experiences to ceramic tile surfaces. The Craft collection is positioned as a sophisticated option for those seeking the raw, authentic look of hand-applied cement with the superior performance and versatility of porcelain tiles. #CeramicheRefin #CraftTiles #PorcelainTiles #CementSurfaces #InteriorDesign #ArchitecturalFinishes #TileDesign #MaterialInnovation #HomeDecoration

The "Indefinite Vases" project by Stockholm-based multidisciplinary design practice Studio E.O explores the dynamic relationship between organic and geometric forms, and between transparent and opaque materials. This series utilizes handblown glass and meticulously cut stone to create a collection of unique vessels. The design process involves melting and cooling traditional vase forms directly onto sharp, angular stone bases, resulting in a distinct interaction where gravity plays a crucial role in defining the final shape. The project intentionally blurs the lines between sculpture and container, as well as between functional and decorative objects. The core concept revolves around the contrast between the fluid, malleable nature of the handblown glass and the rigid, defined structure of the stone platforms. This juxtaposition highlights the interplay between a delicate, fragile material and its solid, unyielding counterpart. The glass appears to "melt" onto the stone, adopting its contours and creating a seamless, yet visually contrasting, union. Each vase becomes a site-specific creation, molded by the precise interaction with its individual stone base. Studio E.O's approach emphasizes the inherent characteristics of each material. The handblown glass, with its inherent imperfections and fluidity, is allowed to naturally conform to the sharp edges of the cut stone. This process ensures that no two vases are exactly alike, each possessing a unique form dictated by the forces at play during its creation. The transparency of the glass further enhances this effect, allowing light to interact with the forms and reveal the subtle variations in thickness and texture. The angular stone bases provide a stable and strong foundation, contrasting with the soft, flowing lines of the glass. The selection of stone, likely chosen for its aesthetic and structural qualities, complements the ethereal quality of the glass. The project statement elaborates on this exploration, highlighting how "indefinite melting material interacts with definite angular forms and gravity determines the relationship in between." At the time of its release, a limited number of these "Indefinite Vases" were made available through Galerie kreo, a renowned gallery specializing in contemporary design. The project demonstrates Studio E.O's innovative use of traditional materials and techniques to produce pieces that challenge conventional notions of form and function. The collection serves as an example of how careful consideration of material properties and natural forces can lead to compelling and visually striking design outcomes. #glass #sculpture #vessels #StudioEO #handblownGlass #stoneArt #design #artisticVases #materialContrast

The 'From the Ashes' project by Studio Peipei, led by German designer Benedikt Peirotén, investigates the use of renewable raw materials as alternatives to traditional glass components like soda (sodium carbonate) and limestone (calcium carbonate). These conventional ingredients are becoming increasingly problematic due to their energy-intensive production and the environmental impact of their extraction. Peirotén highlights that the availability of these essential ingredients is dramatically changing due to climate change and human production methods, prompting a search for more sustainable manufacturing processes for glass. The project proposes integrating waste streams into glass production. Specifically, Peirotén explores using wood ash from pizzerias and seashells from seafood restaurants, both of which are typically discarded. Wood ash can yield Potassium Carbonate, which, similar to Sodium Carbonate in conventional glassmaking, acts as a flux. A flux lowers the high melting point of the primary glass-forming constituents, such as silica and alumina, and helps prevent crystallization. Experiments with this material have also revealed that it imparts intense color tones, giving the glass a distinctive character. Ground seashells are utilized to provide the necessary hardness to the glass, serving as a substitute for calcium carbonate. Calcium carbonate is traditionally mined from limestone through energy-intensive processes, making the use of seashell waste a more environmentally friendly alternative. The only component that still needs to be sourced externally is sand. Once created, this sustainable glass can enter an infinite recycling loop, generating no by-products or waste. It can be repeatedly re-melted or ground back into sand, allowing it to be returned to nature if its ingredients are harmless. Discussions surrounding the environmental impact of glass are gaining momentum. Previous projects, such as one by Snohetta and Studio Plastique, have drawn attention to the scarcity of sand, another critical component in glass production. While Studio Peipei's project does not address sand scarcity, it offers innovative solutions for replacing other energy-intensive components. Peirotén's approach demonstrates the potential of underutilized waste streams to create a more sustainable glass, showcased through a collection of vases. The principles and materials explored in this project have broad applications beyond these specific objects, suggesting a path toward more environmentally responsible glass manufacturing. #SustainableGlass #SeashellRecycling #WoodAsh #InnovativeMaterials #EcoFriendlyDesign #ProductDesign #MaterialInnovation #CircularEconomy #HomeDecor

Dutch designer Inge Sluijs has developed a novel method to transform landfill waste into a durable, rock-like material she calls 'plasma rock,' offering a potential solution to waste management and a source of sustainable materials. The process involves subjecting waste to extreme temperatures using plasma, which is ionized gas capable of generating intense heat. Waste collected from landfills, particularly coastal ones, is first heated in a gasifier to 800 degrees Celsius, converting it into gas. This gas is then superheated to 1,500 degrees Celsius and blasted with plasma, reaching temperatures exceeding 5,500 degrees Celsius—hotter than the sun's corona. This intense heat breaks down the gasified waste into its atomic elements. The end product of this gasification process is a slag that, upon cooling, solidifies into a vitrified, rock-like material with sharp edges. The chemical composition of plasma rock varies depending on the type of waste processed, but it predominantly consists of silica, lime, and alumina, along with traces of titanium, magnesium, sodium oxide, iron oxide, phosphate, and potassium. Crucially, tests confirm that the process consistently yields syngas (a potential fuel), reusable heat, and the plasma rock, irrespective of the initial waste material, whether it be food scraps, plastic, or even baby diapers. Approximately 100 kg of landfill waste can be converted into 20 kg of plasma rock. Sluijs emphasizes that despite originating from toxic landfill waste, the resulting plasma rock is virtually un-bleachable, meaning any hazardous materials present are rendered inert and will not leach out. This quality makes the material mechanically strong, very dense, and environmentally stable. To showcase the versatility and practicality of this innovative material, Sluijs and her collaborators have created various functional and decorative items. For example, waste from the East Tilbury landfill in Essex, England, has been transformed into 'Tilbury Tiles,' which are sold as souvenirs. Furthermore, Sluijs has crafted glass vases adorned with plasma rock specks, illustrating how discarded landfill materials can be repurposed into aesthetic pieces for home decoration, thereby giving waste a 'second life' and contributing to a more circular economy. #PlasmaRock #SustainableMaterials #WasteManagement #EcoDesign #CircularEconomy #LandfillWaste #EnvironmentalInnovation #MaterialScience

The increasing problem of post-consumer waste is being addressed by a growing number of companies that are transforming discarded materials into durable, cost-effective building materials. This approach not only helps in diverting waste from landfills but also offers sustainable alternatives for construction and home improvement. One such innovation is Frost King No-Itch Multi-Purpose Insulation, crafted entirely from recycled denim. This insulation provides cushioning and noise dampening, with an R-value of 4, and is non-irritating, eliminating the need for protective gear during installation. It is also resistant to mold, mildew, and fire, making it a safe and eco-friendly option for various applications. Econyl, an innovative nylon yarn produced from post-consumer waste like fishing nets and textiles, is gaining traction in the carpet industry. Companies such as Milliken are utilizing Econyl to create carpet tiles. The process, developed by Aquafil, chemically recycles nylon 6 molecules into their monomer state, allowing for infinite reprocessing without quality degradation. For countertops, IceStone offers a sustainable alternative to traditional terrazzo. Instead of quarried stone, IceStone uses post-consumer glass from industrial recycling facilities, diverting approximately a million pounds of glass from waste streams annually. This glass is ground, combined with Portland cement and non-toxic pigments, to create heat and scratch-resistant surfaces. Jelinek Cork Mosaic Flooring reuses wine corks that are rejected during quality control. These castoff corks are sliced and arranged into mosaic tiles, which are dense, naturally hypoallergenic, and resistant to surface moisture. This flooring can be installed similarly to ceramic tile. Ceilume Tiles are another eco-chic option, made from 100 percent recycled plastic manufacturing scrap. The company practices a closed-loop system by recycling its own production waste and taking back scrap from customers. These thermoformed ceiling tiles offer a stylish and sustainable choice for home decor. DeckTop Rubber Deck Tiles are manufactured from 100 percent post-consumer waste tires by EMC. These lightweight, slip-resistant, and puncture-resistant tiles are available in 17 colors, providing a durable solution for outdoor spaces. Amazon Environmental Paint addresses paint waste by recycling good-quality surplus paint into recycled-content latex paint for interior and exterior use. Non-reusable paint is further processed into Processed Latex Pigment, which is used in cement manufacturing. In drainage systems, Advanced Drainage Systems produces Mega Green Drainage Pipe using up to 60 percent post-consumer recycled high-density polyethylene (HDPE). This initiative has diverted over a billion pounds of plastic from landfills. Ecoasis Nex Roof Shingles from Malarkey Roofing Products incorporate end-of-life tires and 3M Smog-Reducing Granules. This innovation not only reduces landfill waste but also contributes to air quality improvement. Saturn Materials Masonry uses alkali ash material, a fly ash-based cement, to create bricks, veneers, pavers, and structural blocks. By incorporating fly ash, a problematic combustion waste material, Saturn Materials helps mitigate environmental issues while enhancing the strength and stability of their products. Lastly, FilterPave Driveways utilize tumbled pebbles of post-consumer recycled glass. This material is highly porous, helping to filter pollutants from stormwater and prevent erosion, while offering a comparable lifespan to asphalt. #RecycledBuildingMaterials #SustainableConstruction #EcoFriendlyHome #WasteDiversion #Upcycling #GreenBuilding #HomeImprovement #MaterialInnovation #CircularEconomy

Dutch designer Lieske Schreuder has developed an innovative method for creating floor tiles from colored snail excrement. Her project, which combines biology with art and design, involves feeding snails colored paper and then collecting their feces to form new materials. This unconventional approach highlights the potential for utilizing natural processes and unexpected resources in design. Schreuder's interest in this concept began after observing snails in her garden consuming paper and cardboard. This led her to acquire hundreds of snails from a farm and establish a dedicated laboratory to conduct experiments. In this lab, she systematically fed the snails various colored papers to investigate the resulting excrement. Her findings revealed that snails not only consume colored paper but also produce feces that retain the paper's original hue. The designer explained that snails are unable to absorb the color pigment into their bodies, causing the pigment to pass through their digestive system and be expelled as colored excrement. The laboratory setup includes multiple compartments where snails are provided with sheets of colored paper. The paper's cellular structure is similar to the plant matter snails typically eat, making it a suitable dietary substitute for the experiment. Once the colored excrement is produced, Schreuder collects it. The material possesses a malleable texture, which she then processes using a portable machine of her own design. This machine grinds, mixes, and presses the snail excrement into tiles. The resulting tiles have a distinct, roughly textured surface and maintain the vibrant colors of the paper originally consumed by the snails. Schreuder reflected on the common occurrence of walking on unnoticed snail excrement in gardens and streets, suggesting that if these excrements were colored, they would create a kind of "snail excrement carpet." This observation fueled her exploration into transforming this otherwise overlooked natural byproduct into a visible and functional material. In addition to tiles, the designer has also experimented with pressing the feces into molds using a spatula to create delicate threads. These threads have a five-millimeter diameter, and Schreuder is currently researching potential applications for them. She noted that producing one meter of this thread takes approximately an hour and requires six grams of ground excrement, which is roughly the amount produced by nine snails over five days. This project is part of a larger exhibition titled "Biodesign," held at The New Institute in Rotterdam. The exhibition showcases 57 different ideas that integrate biology with art, architecture, and design, demonstrating innovative uses of biological processes and materials. Schreuder's work exemplifies the interdisciplinary nature of biodesign, pushing the boundaries of material science and sustainable design by repurposing biological waste into novel products. #Biodesign #SnailExcrement #SustainableMaterials #LieskeSchreuder #InnovativeDesign #FloorTiles #MaterialExperimentation #RotterdamExhibition

SCHOCK, a pioneer in quartz composite sinks, has launched a new sustainability campaign featuring music legend Iggy Pop to highlight its 'Sink Green' philosophy. The campaign emphasizes the company's commitment to eco-friendly production and innovative sink designs. SCHOCK's premium sinks are manufactured in the Bavarian Forest using locally sourced quartz sand, a material abundant in the region. This local production reduces transportation costs and environmental impact, reinforcing the brand's dedication to sustainability. The 'Sink Green' initiative centers on producing sinks from natural, renewable, or recycled raw materials. Iggy Pop, in an unconventional and charming narrative, communicates the origins of the quartz sand and its transformation into sustainable sinks. He recounts a 'fairy-tale' about the Bavarian Forest once being an ocean floor, leaving behind vast deposits of quartz sand that are now utilized for SCHOCK's products. This narrative effectively connects the material's ancient origins with its modern, sustainable application. Beyond material sourcing, SCHOCK also focuses on the functionality and design of its sinks. The company aims to elevate the sink from a secondary kitchen component to a central, multi-functional hub. Models like the 'prepstation D-150' and the smaller 'mono D-100XS' are designed as smart kitchen helpers, integrating various preparation steps. These sinks incorporate practical additional functions to streamline food preparation, such as integrated work surfaces and specialized taps with side showerheads, enhancing efficiency for both home cooks and semi-professionals. The 'prepstation D-150', with its one-and-a-half size sinks and dimensions of 1140 by 460 mm, is designed to extend the worktop space, creating more room for fresh food preparation. Sven-Michael Funck, Deputy Managing Director at SCHOCK, highlights how these products create space rather than consume it, underscoring their practical benefits in modern kitchens. The design integrates cutting, washing, and collecting functions, showcasing the sink's versatility and central role in meal preparation. Further advancing its sustainability goals, SCHOCK introduces the CRISTADUR® green line. This product line features a unique recycling concept, currently offered in Germany, where old sinks can be returned to SCHOCK and recycled into new ones without any loss of quality. This closed-loop system aims to significantly reduce waste and promote a circular economy within the kitchen industry. The company plans to expand this recycling program to include more models and color variants, continuously striving for greater sustainability. Through these initiatives, SCHOCK transforms the kitchen sink into the integrative heart of the kitchen, offering not only versatile multi-functionality but also significant potential for environmental responsibility. The campaign, fronted by Iggy Pop, effectively merges rock-and-roll persona with a serious message about sustainable design and responsible manufacturing practices, emphasizing that durability and ecological responsibility can go hand in hand. #SustainableDesign #QuartzSinks #KitchenInnovation #RecyclableMaterials #EcoFriendlyProducts #IggyPopCampaign #BavarianQuartz #SCHOCK #KitchenDesign

The "Kit-Kat" tile series by Spanish brand Dune Ceramica is featured in the Dezeen Showroom. These porcelain tiles draw inspiration from Japanese ceramics and are named for their resemblance to a popular chocolate bar due to their finger mosaic effect. The design aims to introduce texture and visual interest to plain walls, offering a balance of subtlety and striking aesthetics. Each tile measures 115 by 231 millimeters, a size that makes them lightweight and easy to handle. This characteristic also allows for their application on curved surfaces, helping to maintain a soft and continuous visual flow in architectural spaces. The versatility in application caters to various design needs, from accent walls to full-room coverings, providing a flexible option for interior design projects. Kit-Kat tiles are designed to integrate seamlessly into environments that prioritize natural materials and an authentic feel. Their textured surface and adaptable nature contribute to creating spaces that feel both contemporary and organic. The aesthetic appeal of these tiles is intended to complement modern interior trends while offering a timeless quality. The collection is available in a diverse palette of ten colors. This range includes classic whites, soft pastels, and deeper, more intense hues, allowing for a wide array of design schemes. Within this color selection, some tiles exhibit significant tonal variation across the mosaic elements, adding depth and a handcrafted appearance, while others present a more uniform color application. To further enhance design flexibility, the Kit-Kat tiles come in both matte and glossy finishes. This provides options for different light reflections and tactile experiences, catering to specific aesthetic preferences and functional requirements. Designers and homeowners can choose between the understated elegance of a matte finish or the vibrant sheen of a glossy one. Additionally, the tiles can be installed either horizontally or vertically, offering creative freedom to establish distinct patterns and visual effects that personalize any space. #DuneCeramica #KitKatTiles #PorcelainTiles #InteriorDesign #HomeDecoration #JapaneseCeramics #TexturedWalls #CurvedWalls #MatteFinish #GlossyFinish

WASP, an innovative 3D printer OEM known for its “zero-mile” home building philosophy, has collaborated with IOUS Studio to produce 3D printed ceramic wall cladding tiles. WASP’s foundational mission, the World’s Advanced Saving Project, is centered on developing technology to help humanity construct homes using locally sourced materials. The company distinguishes itself through a close symbiotic relationship with designers, makers, and architects, which fosters the creation of aesthetically pleasing and innovative products. This approach allows WASP to remain at the forefront of creative and technological advancements in 3D printing. IOUS Studio, founded in 2022 by Argentine architects Sol Sanchez Cimarelli and Agustin Ros, brings expertise in architectural and design projects, including 3D printing applications for vases, planters, and concrete structures. Their prior work includes a wall designed to integrate with nature, showcasing their innovative design philosophy. During their residency at WASP, IOUS Studio leveraged a WASP 40100 system to manufacture ceramic wall cladding tiles. The resulting project, named Fusion, draws inspiration from the ocean, specifically the interplay of shadows on waves, to inform its unique designs. The tiles are designed to be combinable, allowing for customized wall coverings. The assembly of these tiles takes place on-site, demonstrating a practical application of their modular design. Currently, the production rate for these tiles is impressive, with over 30 components achievable per machine per day. The team has already successfully produced 4,000 components, highlighting the scalability and efficiency of their 3D printing process. For 2024, WASP plans to expand its Residency program, inviting more artists, architects, and designers to participate. The program aims to broaden the spectrum of materials compatible with 3D printing, develop user-friendly tools for creative professionals, and facilitate the industrialization of 3D printed components. Residents are offered the opportunity to collaborate with WASP employees and utilize advanced 3D printers, including the large-scale Crane WASP systems. The program also provides comprehensive training and ensures that participants’ research findings are disseminated among the broader WASP user community. The scope and duration of each project within the residency are flexible, catering to diverse creative and technical explorations. WASP’s residency program stands out from those offered by other 3D printer OEMs. While some companies engage designers primarily for marketing and public relations, WASP’s intent is more profound. The company approaches its interactions with the design community as a partnership of equals, valuing artists, designers, and architects as integral pioneers driving innovation and shaping a better future. WASP recognizes that these creative individuals possess the unique ability to uncover new insights into materials, develop novel processes, and craft beautiful yet functional items that can inspire and transform. Rather than seeking collaborations with established figures solely for their fame, WASP actively seeks out technologists and explorers who are dedicated to the arduous, skilled work required to produce parts previously considered impossible. This strategic approach by WASP, by fostering genuine collaboration and supporting the creation of truly novel and relevant designs, could lead to significant advancements in industrializing high-volume applications. Such a sensitive and relevant exploration of design and 3D printing can generate similar, if not greater, benefits than more traditional, PR-driven marketing strategies, potentially increasing the adoption of 3D printers within the design community and inspiring further publications and industry growth. The article concludes by expressing a hope that other major OEMs will emulate WASP's model by establishing similar residency programs to collectively advance the technical and artistic potential of 3D printing. #WASP #IOUSStudio #3DPrintedCeramics #WallCladding #ResidencyProgram #ArchitecturalDesign #3DPrintingInnovation #SustainableBuilding #SaloneDelMobile