Objects of Common Interest explores "secret recipe" for iridescent resin

The practice of indigo blueprinting, known as Blaudruck in Austria and Germany, and Kékfestés, Modrotlač, and Modrotisk in Hungary, Slovakia, and the Czech Republic respectively, is a rare, centuries-old textile dyeing technique experiencing a resurgence. This tradition, which has significantly influenced the language, dress, and culture of several Central European nations, involves applying a dye-resist paste called Papp to cloth before dyeing it with indigo. Indigo, a powerful natural dye, has been used globally for millennia, with its application in textiles dating back at least 6,000 years. In Central Europe, the tradition evolved from using woad in the Bronze Age to indigo following its import by the Dutch East India Company in the 17th century. Indigo's cold-water dyeing process produced a deeper, more durable color than woad, leading to its widespread adoption for traditional costumes, or _tracht_. Blaudruck workshops, such as Original Blaudruck Koó in Austria's Burgenland state, run by third-generation craftsman Josef Koó and his wife Miriam, and Blaudruckerei Wagner in Upper Austria, which has been in business since 1878, are dedicated to preserving this intricate craft. The process is labor-intensive and takes weeks, beginning with the application of the Papp paste onto fabric using hand-crafted wooden blocks called _Modeln_. These blocks feature fine brass pins hammered into desired patterns, with only a few people in Europe still possessing the expertise to produce them. The exact recipe for Papp is a closely guarded secret, passed down orally, though gum arabic and clay are known ingredients. After patterns are transferred, the fabric air-dries for at least four weeks to allow the paste to set and harden. The dyeing stage involves dipping the fabric, stretched on a frame called a _Stern_, into a vat containing cold water, indigo, and lime. The oxidation process during dyeing causes the fabric to change from yellow to green and finally to the characteristic indigo blue, a phenomenon that has inspired the German idiom "_Du wirst Dein blaues Wunder erleben_" (you will experience your blue miracle), signifying a surprising event. The dyed linen is then washed in hot water to remove the resist paste, revealing a striking dye-free pattern. Blaudruck textiles were highly prized for their durability, with patterns that never rubbed off. They were also practical, as seen in reversible aprons (_Doppeldrucke_) that served different purposes, reducing laundry needs and making them a popular choice for dirndl dresses. The craft's influence extends to the German language, with phrases like "_Blaumachen_" (to make blue) and "_blauer Montag_" (blue Monday) originating from the artisans' practice of having idle time on Mondays during the multi-stage dyeing process, which they sometimes spent at pubs. "_Jemanden in die Mangel nehmen_" (take someone through the mangle), meaning to pressure someone, refers to the final step of smoothing the dried cloth with a 12-ton granite mangle. Despite its near extinction by the 1980s due to mass-produced alternatives, Blaudruck was added to Unesco's Representative List of the Intangible Cultural Heritage of Humanity in 2018. This recognition, along with the efforts of a small community of artisans, has led to a revival. Blaudruck products, once a cheap fabric for common people, are now considered a luxury, adorning home decor items like walls, pillowcases, and tablecloths in inns and hotels, and featured in specialized stores and museums. The annual International Dyers' Market in Gutau and experimental workshops further promote and preserve this unique craft, ensuring its living tradition continues to thrive. #Blaudruck #IndigoDyeing #TextileCraft #CentralEuropeanCulture #TraditionalArtistry #CulturalHeritage #HandicraftRevival #AustrianTradition #TextileDesign

Riddhi Jain Satija, founder of Studio Medium, a Delhi-based apparel and home textile design space, reinterprets traditional handwoven textiles using intensive resist-dyeing techniques. Her work seamlessly integrates diverse textile traditions, such as the JamBan collection, which combines Bengal’s jamdani weave with Gujarat’s bandhani tie-dye. The design process at Studio Medium is textile-driven, starting with the selection and treatment of fabrics before garment construction. The team finalizes a color palette, which artisans then use to prepare for the tie-dye process, while Satija collaborates with her design team on sample sketches, garment construction patterns, and shade cards for upcoming collections. The dyeing processes at Studio Medium involve a meticulous back-and-forth approach, with a focus on achieving precision in shibori tie-dye patterns. Artisans engage in fabric tying using techniques like Arashi shibori, also known as the pole-wrapping technique. This method involves diagonally wrapping ivory fabric around PVC poles and securing it tightly with thread, then scrunching the cloth to create accordion-like folds. The term 'Arashi,' meaning 'storm' in Japanese, reflects the diagonal patterns that resemble falling rain. After preparation, the fabric-wrapped poles are submerged in a hot water bath, followed by the addition of natural and azo-free dyes. The shade is carefully monitored, and salt is incorporated to enhance color vibrancy. Once the desired color is achieved, the poles are sun-dried to remove excess dye, revealing intricate patterns resembling leaf veins upon untying. Following the dyeing and drying processes, tailors begin garment construction. The apparel then proceeds to artisans who hand-embroider or stitch to finalize each piece. Every stage of design and production at Studio Medium emphasizes high craftsmanship, detailed work, and a strong commitment to sustainability. Once completed, garments undergo rigorous quality checks, ironing, and display. The studio integrates core upcycling ethics into its operations, striving for zero-waste patterns and innovative upcycling of by-products. For instance, threads from the bandhani technique and fabric scraps from past collections or garment construction are transformed into unique textile art. Bandhani thread clusters are meticulously arranged on fabric and then sandwiched between another layer, secured with Kantha stitching to create textiles for outerwear in the 'Re' collection, which draws inspiration from Monet’s impressionist paintings. Another initiative is the 'Bor(r)o(w)' collection, which is based on Japanese mending philosophies, specifically the Boro art form. Artisans freely arrange fabric scraps from previous collections or waste materials onto new fabric, patching, stitching, and piecing them together to preserve their beauty. Studio Medium applies various dyeing techniques to hand-woven textiles to create a range of classic silhouettes, including kaftans, capes, shirts, saris, and jackets. Riddhi Jain Satija emphasizes that design is not merely about creating new items but about observing the environment and introducing simple innovations. She also highlights the importance of respecting the comfort and expertise of weavers and dyers, aiming to design mindfully and foster an inclusive and sustainable community of practitioners to generate unique narratives and experiences. Her personal journey into tie-dye began in her mother’s workshop in Kolkata, influenced by Jaipuri bandhani and Kutch district techniques, later exploring Japanese shibori at the National Institute of Design in Ahmedabad, where her fascination with the 'circle' as a design element continues to inspire her work. #TextileDesign #ResistDyeing #StudioMedium #RiddhiJainSatija #SustainableFashion #HandwovenTextiles #Shibori #Upcycling #IndianCrafts

Armourcoat, a surfaces brand, has introduced a new collection of textured and eco-friendly paints called Limewash, designed for both residential and commercial interiors. This range aims to replicate the distinctive aesthetic and tactile qualities of traditional limewash while offering enhanced durability and a less chalky finish. The collection features 45 shades, each crafted from a blend of slaked lime, kaolinite clay mineral, water, mineral pigments, and natural plant additives. This specific composition ensures that the paints are free from solvents and Volatile Organic Compounds (VOCs), aligning with stringent environmental and health standards within the architectural industry. Armourcoat asserts that its Limewash collection is unique in possessing both Environmental Product Declaration (EPD) and Health Product Declaration (HPD) documentation. This makes the product particularly suitable for construction projects seeking to achieve sustainability certifications such as BREEAM and LEED. Duncan MacKellar, Armourcoat's creative director, emphasized the company's commitment to material transparency, viewing it as crucial for designing aesthetically pleasing interiors that also minimize ecological impact. He stated that the brand's objective as manufacturers is to decrease both embodied carbon and environmental toxins, thereby fostering sustainable innovation in the built environment. MacKellar reassured architects and designers that all Armourcoat finishes, including the new Limewash range, support the creation of environmentally responsible and healthy indoor spaces, backed by their EPD and HPD documentation. A key benefit of the Limewash collection is its naturally high alkalinity, derived from its slaked lime content. This inherent property provides resistance against bacteria and mould growth, contributing to healthier indoor environments. Additionally, the paint is non-combustible, adding a safety dimension to its list of advantages. The introduction of Limewash represents the latest expansion of Armourcoat's portfolio of surface finishes. The brand consistently aims to deliver sustainable luxury finishes to the global community of architects and designers. This product launch underscores Armourcoat's dedication to providing innovative solutions that cater to the increasing demand for sustainable and high-performance interior materials. #Armourcoat #LimewashPaint #EcoFriendlyInteriors #SustainableDesign #InteriorFinishes #GreenBuilding #MaterialTransparency #VOCFreePaint

The article explores the potential of natural binders, specifically magnesium oxychloride and potato starch, in combination with hemp fibers to create robust, sustainable, and circular materials, as explained by Dutch designer and professor Jack Brandsma. Before the advent of synthetic bonding agents, adhesives from renewable resources like casein and protein were commonly used. These natural alternatives are regaining attention due to rising costs of conventional crude-oil-based binders and the environmental concerns associated with synthetic materials. The challenge often lies in the inseparable nature of fibers and binders once combined, making recycling difficult. In the Dutch design context, self-production has become a necessity, fostering an educational system that encourages manual skills and practical implementation of ideas. Jack Brandsma, a lecturer and researcher at Academy Minerva, collaborates with IHOG (Innovatie Hub Oost-Groningen) and its partners—HempFlax, Nedmag, and Avebe—to experiment with hemp and natural binders. HempFlax, for instance, has partnered with BMW to produce interior panels for the automotive industry, using hemp as a lightweight alternative to glass fibers. However, the combination of hemp with synthetic binders in these applications still presents a circularity challenge. Brandsma's research focuses on using magnesium oxychloride and potato starch as binders. Magnesium oxychloride, also known as Sorel cement, is formed by mixing magnesium salt, oxide, and magnesium chloride with water. This fluid material can fully soak hemp fibers, and when clamped under pressure, it hardens like cement within 24 hours. Potato starch, a more environmentally friendly binder, behaves like a jelly glue when mixed with water and can be molded similarly to papier-mâché. Unlike magnesium, which can be corrosive to metals due to its salt content, potato starch is a gentler option. Both binders are sensitive to moisture, indicating their biodegradability, a crucial aspect for circularity. Brandsma emphasizes that the goal is not merely to replace synthetic materials but to find natural alternatives that offer comparable performance. He challenges students to create rigid and strong structures using natural materials, drawing inspiration from historical designs like Willy Guhl's cement and asbestos fiber constructions. He envisions these materials being applied in furniture, highlighting their ability to absorb and release moisture, unlike synthetic alternatives. The discussion also delves into the broader implications of material choices on environmental impact and the product lifecycle. Brandsma argues against the current consumption-driven system that encourages frequent disposal of products. He advocates for designing durable items that can last a lifetime and be passed on, questioning the necessity of constant newness. The article concludes by stressing the importance of exploring new applications for existing materials and fostering a shift in design education to prioritize sustainability and circularity, transforming designers into innovators who address genuine needs rather than simply creating new products for market consumption. #NaturalBinders #HempFibers #CircularEconomy #SustainableMaterials #MagnesiumOxychloride #PotatoStarch #DutchDesign #Biodegradability #MaterialInnovation

In a design landscape increasingly concerned with environmental impact, ALT Design, a French studio founded by Alexandre Touguet and Lise Rissel, has launched ALT Light, a brand focused on sustainable lighting solutions. Their latest offering is a 3D-printed lamp crafted from bio-sourced polylactic acid (PLA), a plastic derived from renewable corn starch. This initiative demonstrates a commitment to integrating advanced manufacturing with eco-conscious material choices, aiming to reduce the environmental footprint of product design. The selection of PLA as the primary material is a key aspect of the lamp's sustainability. Unlike conventional petroleum-based plastics, PLA is biodegradable under industrial composting conditions, offering a more environmentally friendly alternative. This material choice helps mitigate carbon emissions associated with plastic production and minimizes long-term waste. Beyond its ecological benefits, PLA is suitable for 3D printing, allowing for precise and intricate designs that might be challenging with other materials. The use of PLA enables the creation of lamps that are both sustainable and structurally sound. From an aesthetic perspective, the lamp combines modern simplicity with playful elements. It features a rectangular base that smoothly transitions into a flared, sculptural top, echoing traditional lampshade forms while offering a contemporary twist. The surface of the lamp is adorned with vertical ribbing, which not only adds a dynamic texture but also interacts with light in a way that enhances its visual appeal. This design detail provides a sense of movement and makes the lamp a distinct accent piece within any modern interior setting. Functionality and versatility are also central to the ALT Light’s design. The lamps are available in various sizes, including a compact wall light and larger medium and table lamps, accommodating diverse spatial requirements. Customers can opt for either translucent or transparent finishes, influencing how light is diffused. The translucent option provides a softer, more ambient glow, ideal for creating a warm atmosphere, while the transparent version offers a clearer and more directed illumination, suitable for task lighting or highlighting specific areas. One of the most forward-thinking aspects of ALT Light's production model is its made-to-order approach. This method avoids the waste associated with mass production and excess inventory, as each lamp is printed only after a customer places an order. This strategy also facilitates extensive customization options, allowing buyers to select from a range of two-tone color combinations. This bespoke capability ensures that each lamp can be tailored to individual preferences, harmonizing with existing decor or expressing personal style through unique color pairings. This integration of sustainable materials, advanced manufacturing, and customizable design positions ALT Light as a notable example of contemporary product development that prioritizes environmental responsibility without sacrificing aesthetic quality or consumer choice. #3DPrintedLamp #SustainableDesign #BioSourcedPlastic #PLA #HomeLighting #EcoFriendlyProducts #ModernDesign #CustomizableLighting #ALTLight

Italian design duo Alcarol will present their "New Visions" furniture collection at the Mint Gallery during the London Design Festival 2014. The collection features furniture pieces created by suspending natural materials in resin. This exhibition, titled "Elements of Craft," is curated by Lina Kanafani and highlights the impact of craft on design. The collection is characterized by three distinct designs: FishEye, Dolomyth, and Undergrowth. Each design incorporates natural materials sourced from the regions around the designers' home country, spanning from the Venetian lagoon to the Dolomite mountains. The primary aim of Alcarol's work is to preserve the natural surfaces of these materials by encapsulating them in resin, thereby giving them a new purpose and aesthetic life within furniture. The FishEye series includes stools and side tables crafted from sections of timber poles retrieved from Venice's canals. These oak logs bear the marks of decades of weathering and the distinctive circular holes created by Teredo Navalis, commonly known as shipworms. Alcarol fills these natural imperfections and cracks with transparent resin, forming a cylindrical structure that is then fitted with swivel casters at its base. The design emphasizes the historical and aesthetic value of timber that has withstood the elements in Venice's waterways. The Dolomyth pieces are constructed around chunks of mountain rock, complete with natural mosses and lichens. These stones, harvested from abandoned quarries, showcase geological layers ranging in color from pink to grey. The designers cut the rock into a cuboid shape, with resin applied over the mossy surface to create a flat, functional top. This design seeks to capture the complex relief and harmonious blend of structural forms and climatic conditions found in the Dolomite mountains. Finally, the Undergrowth series features bookshelves and consoles made from solid oak planks. These planks are connected by steel rods that pass through the wood, creating a self-supporting structure. The mossy edges of the oak planks are encased in resin, preserving their natural state and creating the visual effect of the log sections being suspended in mid-air. This design aims for essentiality, showcasing the raw beauty of the natural materials. The New Visions collection will be part of a larger exhibition at the Mint Gallery, which will feature over 30 pieces by emerging designers. These contemporary works will be displayed alongside pieces from the 1970s and 1980s, creating a dialogue around the evolution of craft in design. The exhibition will run from September 13th until the end of the month, coinciding with the London Design Festival. #Alcarol #NewVisionsCollection #ResinFurniture #LondonDesignFestival #MintGallery #CraftDesign #NaturalMaterials #FurnitureDesign

Drag And Drop, a Romanian design and manufacturing studio co-founded by Madalin Gheorghe and Dragos Sabareanu in 2019, is known for its innovative approach to design, merging advanced technology with artisanal techniques. The studio's ceramic collection showcases this philosophy by reimagining the function and aesthetics of everyday objects, specifically vases. The creation process leverages a large 3D-ceramic printer to produce intricate patterns, which are developed using sophisticated algorithmic modeling software. Throughout the design and manufacturing process, a strong emphasis is placed on sustainability, aesthetic appeal, and overall quality. The collection features five distinct vase designs, each drawing inspiration from natural patterns and traditional craftsmanship. The 'Intertwined' vase, for instance, is characterized by its organic, interwoven geometric pattern, reminiscent of growth structures found in tree bark and root systems. This unique design is achieved through 3D printing using 100% natural clay. While the interior of the Intertwined vase is hand-glazed, its exterior maintains a matte finish, a consistent characteristic across the entire ceramic collection. This contrast highlights the intricate textures created by the 3D printing process. Another design, 'Bulky,' is offered in three different sizes. This vase features a textile-like pattern that interacts with light throughout the day, creating varying visual effects. The design encourages tactile engagement, inviting individuals to explore its geometric forms and textures through touch. This interactive element adds another dimension to the appreciation of the piece, allowing for a more intimate connection with its design and material. The 'Ripple' vase demonstrates the studio's ability to translate complex mathematical formulae into aesthetically pleasing natural patterns. Its design mimics the visual effect of rippling liquid, such as the concentric circles formed when a stone is dropped into water. This piece exemplifies how technology can be used to replicate and enhance natural phenomena, creating objects that are both visually striking and conceptually rich. The wave-like pattern provides a sense of movement and fluidity, despite the static nature of the ceramic material. The 'Kilim' vase pays homage to the traditional tapestry-weaving methods employed in regions historically part of the Persian Empire. This design represents a contemporary reinterpretation of an ancient craft, demonstrating a harmonious blend of traditional artistry and modern industrial design. By translating the intricate patterns of kilim carpets into a 3D-printed ceramic form, the studio bridges the gap between historical techniques and cutting-edge manufacturing, creating a piece that is culturally resonant and technologically advanced. Finally, the 'Melting' vase directly incorporates its manufacturing process into its aesthetic. The design plays on the suppleness of wet clay during the layering process of 3D printing, creating the illusion of a soft object that appears to be melting. This visual effect is achieved despite the hard, finished ceramic product, creating an intriguing juxtaposition. The Melting vase challenges perceptions of material properties, making a rigid object appear fluid and malleable, highlighting the transformative potential of 3D printing in ceramic art. #3DPrinting #CeramicVases #NatureInspiredDesign #AlgorithmicModeling #SustainableDesign #HomeDecor #ModernCraftsmanship #DragAndDropDesign #InteriorDesign

When undertaking kitchen renovations or designing a new home, the selection of countertops is a pivotal decision, as they occupy a significant visual and functional space within the room, setting its overall aesthetic. Beyond their visual impact, countertops must also be durable, easy to clean, and simple to maintain to withstand daily kitchen activities. With numerous material options available, choosing the right one can be challenging. However, bluestone is emerging as a preferred choice, lauded by designers for its combination of style, durability, and practicality. Bluestone, a type of layered sandstone originating from northeastern Pennsylvania, has historically been used in outdoor applications due to its exceptional resilience. This material is less porous than many alternatives, making it highly resistant to stains and water damage, and it does not retain heat. Its hardness surpasses that of marble, offering superior resistance to scratches, cracks, chips, and other forms of wear. These properties ensure that bluestone countertops can endure constant use from cooking, baking, and cleaning while maintaining a pristine appearance. Additionally, bluestone possesses an understated yet luxurious aesthetic that contributes to a timeless kitchen design. Bluestone presents a chic and robust option that is also more cost-effective than granite. The material features variegated tones of blue, gray, green, and brown, which, while offering a somewhat limited palette, are ideally suited for neutral and earthy kitchen designs. This natural color range further enhances its aesthetic longevity. While bluestone is considered a premium material and falls on the higher end of the price spectrum compared to some other countertop materials, it offers significant long-term value. Its rarity and irregular shape necessitate precise cutting and shaping during installation, which can add to the cost. To prevent flaking, which is one of its few potential drawbacks, bluestone should be sealed. Despite the initial investment and specific installation requirements, bluestone is more affordable than granite, with costs typically ranging from $4 to $8 per square foot compared to granite's $10 to $15 per square foot. Experts recommend bluestone as a reliable, long-term investment that eliminates the need for frequent replacement. The prospect of a low-maintenance, aesthetically enduring countertop is a compelling reason to integrate this material into kitchen designs. Consequently, bluestone is increasingly recognized as an ultra-durable material that is poised to redefine modern kitchens, with an anticipated rise in its use, especially in conjunction with earthy color schemes. #KitchenDesign #CountertopMaterials #Bluestone #HomeRenovation #InteriorDesign #DurableMaterials #KitchenRemodel #HomeImprovement

Erik de Laurens, a former Master's student in Product Design at the Royal College of Art (RCA), has developed an innovative and sustainable material named Scalite, derived entirely from fish scales. His work addresses the growing need for environmentally friendly materials in various industries, including interior design and construction. The inspiration for Scalite came from de Laurens's search for a sustainable raw material, leading him to explore the potential of fish scales, which are a significant waste product of the fishing industry and are largely undervalued. De Laurens discovered that fish scales naturally contain a polymer, which he learned to extract. This extracted polymer is then combined with the mineral elements also present in the scales. The resulting powder undergoes a compression process, transforming it into sheets or tiles that possess characteristics akin to natural stone. The naming of 'Scalite' is a deliberate reference to early plastics like Bakelite, highlighting its foundational role as a novel material. Following his graduation, de Laurens established a company, also named Scalite, to commercialize this material. The company currently offers Scalite in tile form, primarily targeting interior applications. The material boasts impressive environmental credentials; it is 100% bio-based, requiring no chemical additives in its production, and it repurposes a readily available waste product. Beyond its sustainability, Scalite is also aesthetically pleasing, offering a unique visual and tactile quality suitable for modern interior finishes. The development of Scalite represents a significant step forward in material innovation, showcasing how industrial design can leverage waste streams to create valuable, eco-conscious products. By transforming what was once discarded into a durable and attractive material, de Laurens's work contributes to a circular economy model. The material's application in interior design signifies its potential to replace less sustainable options while offering a distinct aesthetic. This innovation not only provides a practical solution for waste management but also expands the palette of sustainable materials available to designers and architects. #ProductDesign #SustainableMaterials #FishScales #BioBasedMaterial #MaterialInnovation #CircularEconomy #InteriorDesign #WasteUtilization #RCAAlumni

The interior design landscape is currently undergoing a significant shift from the previously dominant minimalist aesthetic of bright white walls, beige accents, and sparse decor. A new trend, dubbed "Dark Glamour" by Benjamin Moore, is emerging, characterized by deep, moody hues, rich jewel tones, dusky neutrals, and metallic accents, often with a gothic undertone. This shift emphasizes creating spaces with more color and emotional depth, moving away from a strictly neutral palette. Local interior designers are embracing this change, offering insights into successfully integrating these richer palettes into home environments. Tammie Ladd, owner of Tammie Ladd Design, highlights the importance of incorporating living elements like plants to prevent dark spaces from feeling too heavy. She also stresses the significance of contrast, drawing parallels to black-and-white photography, where a balance between light and dark elements—such as a dark floor with white walls or dark cabinetry with lighter hardware—creates visual interest and energy. Ladd illustrates this by describing a home study she designed with midnight blue walls contrasted by an untouched warm-toned wood ceiling, noting the complementary energy between blue and orange tones. Kasey Dobbins of Foxwood Design Co. shares a similar perspective, suggesting that for those hesitant to paint entire walls dark, painting the ceiling can be an effective alternative. She advises against an all-black-and-white scheme, preferring rooms within a mid-tone range for a more inviting feel. Dobbins encourages homeowners to select colors they are inherently drawn to, suggesting that personal comfort and preference should guide color choices, allowing homes to reflect individual personalities. Lighting plays a crucial role in these richly colored spaces. Ladd acknowledges the contribution of lighting specialists, emphasizing that strategic lighting can transform a dark room. Dobbins advocates for a layered lighting approach, combining various sources such as can lights, ambient sconces, and table lamps to create depth and warmth. She also provides practical advice for naturally low-light areas like basements, recommending medium-tone colors over very dark or stark white options, as white can make such spaces feel institutional. Beyond color and light, texture is another essential element for enhancing moody interiors. Ladd favors velvet for its calming properties and visual interest, while Dobbins is drawn to nubby bouclé fabric. Other textural elements like woven shades, sisal rugs, and waffle weave blankets can also enrich dark spaces. The article notes that even sheepskin throws, when used judiciously, can contribute to this textural complexity. Grasscloth wall coverings, reinvented with contemporary colors, are also recommended for adding a sophisticated textural layer. For luminous touches, natural stone, mirrored materials, and metals are suggested, particularly to complement candlelight. This trend towards rich colors and textures is seen as a corrective response to the previous monochromatic design extreme, aiming to reintroduce warmth and energy into living spaces, offering numerous options for homeowners to create refreshingly moody and personalized interiors. #InteriorDesign #DarkGlamour #ColorTrends #HomeDecor #TexturalElements #LightingDesign #MoodPalette #DesignTips #SpokaneDesigners

The article discusses the collaboration between artist Cj Hendry and Jeni’s Splendid Ice Creams, which resulted in a limited-edition black ice cream called OPAQUE and an immersive pop-up installation in New York City. This project challenges the conventional perception of ice cream as a visually colorful treat by removing color to emphasize other sensory aspects. Cj Hendry, known for her artistic evolution from hyper-realistic drawings to immersive experiences, aims to manipulate context and transform the familiar into something novel. Her previous works have encouraged reconsideration of everyday objects, and with OPAQUE, she extends this philosophy to ice cream. The jet-black color, achieved with cocoa, espresso fudge, and balsamic cherry, compels consumers to engage with the flavor and texture without the usual visual cues, thereby heightening their awareness of the other sensations involved in tasting. The pop-up installation in SoHo featured a monochrome ice cream shop, where all elements, including waffle cones and interior walls, were black. This stripped-down environment aimed to minimize visual distractions and highlight texture, form, and sensation. Seven new artworks by Hendry were also displayed, all continuing the theme of chromatic void and exploring how context influences consumption. This design choice serves not as an absence of experience but as a removal of noise, amplifying sensory perception. Beth Stallings, Jeni's director of innovation, described the OPAQUE flavor as “layers deep…an excavation of flavor,” a sentiment that aligns with Hendry’s artistic approach. Jeni's, recognized for its innovative and visually appealing ice cream creations, proved to be a suitable partner for Hendry, whose art practice focuses on transforming consumption into a multi-sensory experience. The collaboration effectively redefines a product launch as a sensorial performance. Hendry's long-standing interest in consumer culture focuses on observing rather than critiquing. Through OPAQUE, she encourages consumers to pause and re-evaluate routine transactions, particularly how visual expectations shape the experience of a common indulgence like ice cream. By eliminating color, the collaboration succeeds in making a familiar product feel new and encourages a deeper appreciation of taste, touch, and attention. The jet-black scoop serves as a reminder that sometimes, less visual information can lead to a richer sensory engagement. #CjHendry #JenisIceCream #ArtCollaboration #ImmersiveExperience #SensoryDesign #PopUp #ColorTheory #ConsumerCulture #ProductInnovation

The Poilu Vases represent an innovative venture into material research and 3D printing technology by Paris-based Studio Bold. This project explores the integration of natural fibers into 3D printed structures to create unique textural qualities in decorative objects. The studio's research centered on developing a method to implant what they describe as “hair” into the vases during the additive manufacturing process, aiming to enhance the visual and tactile bulk of the objects. The design philosophy behind the Poilu Vases bridges mathematical logic with natural generative principles. Studio Bold formulated a specialized code that dictates the precise coordinates for the integration of fibrous materials within the 3D printing sequence. This algorithmic approach allowed for a controlled yet organic outcome, resulting in surfaces that mimic the appearance of looped fibers, reminiscent of certain textile textures such as those found in rugs. Crafted from vegetable-based fibers, the vases incorporate materials like bamboo, coconut, and wood. These natural components contribute to the distinctive “hairy” texture and give each vase a unique character. The choice of natural fibers also aligns with contemporary design trends that emphasize sustainability and the incorporation of organic elements into manufactured goods. The collection consists of three distinct vases, each named after a hair color: "Blond," "Brun," and "Roux." This nomenclature further reinforces the concept of implanted "hair" and differentiates the individual pieces within the series. Each vase is produced as part of a limited edition, with specific numbering and artist signatures. This exclusivity positions the Poilu Vases as collectible design pieces rather than mass-produced items. The Poilu Vases are distributed through Aybar Gallery, highlighting their status as art and design objects. The collaboration with a gallery suggests a deliberate effort to present these pieces within a fine art context, appealing to collectors and design enthusiasts interested in the intersection of technology, art, and natural materials. This project showcases the potential of 3D printing to move beyond purely functional applications and into the realm of sculptural and decorative art, pushing the boundaries of what is achievable in contemporary object design through material innovation and advanced manufacturing techniques. #3DPrinting #VaseDesign #StudioBold #MaterialInnovation #HomeDecor #VegetableFibers #LimitedEdition #AybarGallery #ContemporaryDesign

Microcement, a composite coating made from a blend of cement, water-based resins, and mineral pigments, is emerging as a practical and versatile material in home renovation. Originating from Europe, particularly popular in Greece and Spain, microcement has recently gained traction in the U.S. in the last five years. Unlike traditional concrete, microcement is significantly lighter, with each layer being approximately three-sixteenths of an inch thick, allowing it to be applied over various substrates like plywood. Its non-porous nature distinguishes it from plaster, making it resistant to staining, an advantage for surfaces like kitchen countertops and walls. Applications for microcement are extensive, ranging from floors, baseboards, fireplaces, and kitchen surfaces to built-in furniture and shower walls. Its waterproof quality, when sealed, makes it an ideal choice for bathrooms, where it can provide a rustic aesthetic, reminiscent of Mediterranean designs, without the need for grout. The material's ability to be customized in color further enhances its appeal, allowing for personalized design expressions. Suppliers like Topciment from Spain and Promix in New Jersey offer various types of microcement, catering to different functional and decorative needs, including options robust enough for swimming pool floors. While microcement offers numerous benefits, its application is a meticulous process that typically requires professional expertise. Each layer demands 24 hours to cure and dry before the subsequent one can be applied, and skilled trowel work is essential for a smooth finish. This complexity suggests that DIY application may not be suitable for most homeowners. For instances where microcement is integrated with custom elements, such as cabinet doors, it is layered directly onto existing frames, with cabinet fronts then made to fit the created niches. Despite its resilience, microcement, like any surface material, can show minor wear, such as nicks and stains, in high-traffic areas over time. However, its overall durability and hygienic properties—due to the absence of grout lines—are significant advantages. Homeowners who have used microcement report that it maintains a warmer feel than polished concrete or lime plaster, contributing to an inviting and spa-like atmosphere. The material's practicality, aesthetic versatility, and low maintenance requirements position it as a noteworthy option for modern home renovations, offering a blend of durability and sophisticated design. #Microcement #HomeRenovation #InteriorDesign #BuildingMaterials #KitchenDesign #BathroomDesign #MaterialInnovation #DesignTrends #HomeImprovement

This article highlights various innovative design pieces from global makers, showcasing a blend of traditional craftsmanship and contemporary materials. The featured designers and studios, hailing from locations such as Brooklyn, Copenhagen, and Ukraine, emphasize unique artistic visions and sustainable practices in their creations. Each piece is a testament to meticulous design and material exploration, ranging from intricate glass sculptures to furniture made from reclaimed materials. The article begins by introducing Reevein Studios, specifically Sara Rosa Oppermann and Alice Soro Cilliara, who create mouth-blown glass sculptures. Their 'Spora' sculpture, available in amber and electric blue, demonstrates the artistic manipulation of glass into fluid forms. Following this, Djivan Schapira's 'Divergent' foyer and low tables are presented, characterized by resin inlaid with bronze wire, offering a modern aesthetic with intricate detailing. Kateryna Sokolova's 'Flock' chair for Noom, featuring an upholstered injection-molded soft-foam body and stained-ash feet, illustrates a combination of comfort and sculptural form. Faina's Victoria Yakusha contributes the 'Sontsehryv' sculpture, which stands out for its sustainable composition. This piece is crafted from Ztista, a proprietary blend of cellulose, clay, flax fiber, wood chips, and biopolymer, reflecting a commitment to eco-conscious design. Streicher Goods, led by Ethan Streicher, showcases a collection of lamps—Archie, Ping Pong, and Drum—fabricated using various stoneware clays, underglazes, mid-range glazes, and sometimes blown glass or 3D-printing processes. These lamps explore diverse material combinations and manufacturing techniques. Mansi Shah of Manu Nanu presents an interlocking vase made of hand-blown borosilicate glass in amber and cobalt-blue, demonstrating a sophisticated approach to color and form in glasswork. Nathan Litera's side table combines natural rope and grand antique marble, offering a textural and material contrast that evokes both rustic and luxurious sensibilities. Astraeus Clarke, by Chelsie and Jacob Starley, features the 'Lenox Small' three-globe light, available in wall sconce and chandelier formats, constructed from powder-coated steel, brass, and glass, indicating a versatile lighting solution. Eduardo Rivas of ERM Studio contributes the 'Materia Digital' cast-aluminum coffee table with a glass top, showcasing a blend of industrial materials with a refined finish. Kiki Goti's 'Belted and Buttoned Up' wall lights, made from aluminum, polished nickel, and steel, exemplify a contemporary and structured lighting design. Feyza Kemahlioglu of Feyz Studio, through Wexler Gallery, introduces the 'Glowing Sentiments' lighting collection, which incorporates hand-blown Murrine glass, brass chain, and Meerschaum, a hand-carved clay mineral, highlighting intricate details and unique material sourcing. Ciara Jade Dockery’s 'Creature Comforts' collection includes a Flokati wool pouf, a Mohair bench crafted from vintage rugs, and a Ply occasional table made of FSC-certified plywood. These pieces emphasize comfort, sustainability, and the repurposing of materials. Matt McKay presents the 'Jib' shearling and lacquer stool, the 'Ahoo' cashmere-upholstered lounge chair, and the 'Cap' resin and lacquer coffee table, all demonstrating a focus on tactile luxury and modern forms. Finally, Michelle McLaughlin of Calyer Ceramics features the 'Sprig' floor lamp, which features a ceramic stoneware base with a handmade glaze and a linen shade, showcasing a handcrafted approach to lighting. #MaterialInnovation #ProductDesign #SustainableDesign #Handcrafted #Ceramics #GlassArt #FurnitureDesign #LightingDesign #InteriorDecor

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

Dill green is projected to be a prominent color trend for summer 2025, according to Pinterest's trend report. This hue, characterized by its vibrant and fresh qualities, is seen as a versatile choice suitable for year-round application in home decor, offering a connection to the outdoors, particularly relevant in the context of biophilic design. Anu Jain of Atelier Oleana describes dill green as a "love letter to nature—fresh, earthy, alive," distinguishing it from more aggressive or minimalist green tones. It evokes imagery of herb gardens and vintage apothecaries, providing a flavorful yet grounded aesthetic in contrast to prevalent grays and beiges. The appeal of dill green extends to its adaptability, as it can be used for color-drenching entire spaces or as a subtle accent. Designer Marika Meyer notes a shift in client preferences since 2020, with green surpassing blue as a frequently requested color, driven by a desire to reconnect with nature. This trend is also influenced by the popularity of British design, which often features green decor items, paints, and wall coverings. Several strategies for incorporating dill green into home interiors are suggested. One approach involves pairing it with cool tones such as blues and pinks. While a natural inclination might be to combine dill green with neutrals, designers encourage bolder combinations. David Mann of MR Architecture + Decor suggests using it with complementary blues or other greens like olive to create a complex and engaging environment. Meyer advocates for either fully committing to the color or using it sparingly, emphasizing its synergy with various hues. Another application for dill green is in kitchen spaces, particularly for cabinetry in butler's pantries. Ginny Padula of Town & Country Design Studio highlights how this brings color into areas often overlooked, balancing a desire for color with neutral elements elsewhere. The color's earthy quality is also a significant factor in its appeal. Mann attributes its trending status to its ability to evoke harmony with nature, bringing a sense of calm and balance indoors. Kristen Wolff of Brandon Architects recommends grounding dill green with warm woods like oak or walnut, while Jain advises thinking botanical rather than rustic. Ellie Christopher suggests using dill green wallpaper, including grasscloth or printed patterns, to add depth and richness, noting the availability of peel-and-stick options for renters. Dill green naturally lends itself to tablescapes, especially for outdoor entertaining. Gifty Walker of Joybird suggests incorporating it through linens, florals, stoneware dishes, or decorative items like vases and glassware to create a casual elegance. The color also complements natural textures such as teak wood, wicker, and woven placemats. For those who prefer a more conservative approach, using dill green as an accent color is effective. Mann recommends integrating it through curtain trimmings, art, throws, books, or glassware to add freshness and create a layered look. Ariane deBraux Triay of La French Goose advises connecting these accents visually by matching them with other elements in the room, such as bed sheets or rugs, to achieve an intentional design. Finally, dill green pairs well with natural materials like rattan and colors such as cream. Rebekah Zaveloff of Imparfait Design Studio explains that this combination creates a sophisticated yet relaxing "bringing nature indoors" vibe. When using dill green as a primary color, it is best to complement it with other nature-inspired tones, avoiding bright, clashing colors. This approach maintains a bright and light atmosphere, allowing dill green to function as a sophisticated neutral. #DillGreen #ColorTrend #HomeDecor #InteriorDesign #BiophilicDesign #KitchenDesign #Tablescape #AccentColors #NaturalMaterials

The Fuse cabinet, created by Studio Truly Truly, is a striking piece of furniture that demonstrates a sophisticated fusion of natural materials: cedar wood and a blend of black marble and fine basalt in resin. This design emphasizes craftsmanship and an innovative approach to material combination. The cabinet is characterized by its strong, graphic aesthetic, achieved through the distinct layering of these materials. The marble and basalt resin is interspersed with the cedar wood at an angle, resulting in a dynamic zig-zag geometric pattern that defines the cabinet's visual identity. Studio Truly Truly developed this unique look by sanding the cedar wood with irregular contours. This technique allows for an organic flow in the wood's form, which is then mirrored by the resin components. A key aspect of the Fuse cabinet's design is the consistent treatment applied to both the wood and the marble. Despite their inherent differences in texture and appearance, both materials undergo similar finishing processes. This uniform treatment highlights a fascinating contrast: the natural, warm tones and grain of the cedar wood stand in opposition to the cool, dense qualities of the marble-resin composite. The thoughtful execution of this design results in the marble-resin appearing to seamlessly integrate with the cedar wood. It gives the impression that the marble is not merely an accent but an integral part of the cabinet's structure, winding around its wooden elements and contributing to its overall stability and cohesion. This visual continuity transforms the cabinet into more than just a storage unit; it becomes a sculptural object that blurs the lines between art and functional furniture. The collaboration between the contrasting materials within the Fuse cabinet creates a sense of both tension and harmony. The rugged, natural character of the cedar wood is balanced by the refined, polished surface of the marble-resin, offering a tactile and visual experience that is both raw and sophisticated. This innovative piece exemplifies how traditional craftsmanship can be reimagined through modern design techniques and material science, pushing the boundaries of contemporary furniture design. The project received support from Materiaalfonds Netherlands, underscoring its recognition within the design community. #FuseCabinet #StudioTrulyTruly #FurnitureDesign #Woodworking #MarbleResin #HomeFurnishings #ModernDesign #MaterialInnovation #CedarWood

The increasing adoption of additive manufacturing has expanded the role of 3D printing beyond industrial applications, establishing it as a versatile medium in art studios and various creative fields. This technology facilitates the creation of innovative artistic, conceptual, and cultural works, and has even contributed to the digital preservation and reconstruction of historical artifacts and global heritage sites. While not always the central focus, 3D printing often serves as a crucial supporting tool, enabling designers, artists, and artisans to realize new designs and concepts. A prime example of this collaborative approach is found in the Forma Fabrica collection by industrial designer Nir Neria. This collection reinterprets the traditional porcelain vase by exploring the interplay between different materials and design processes. Neria's method integrates slip casting, a ceramic technique typically used for complex shapes that traditionally relies on plaster molds. However, Neria has modernized this ancient technique by combining it with 3D printing and textiles, resulting in a novel, sustainable, and reusable molding process. The design process begins with computer-aided design (CAD) software, where the vase is rendered in 3D. This digital stage allows for precise definition of each mold component and how they will interlock. Subsequently, these mold components are 3D printed. These printed parts are then integrated with fabric, which the artist sews together. The assembled fabric and 3D-printed elements form the mold, ready for porcelain slip casting. During casting, liquid porcelain is poured into the mold and then drained after a sufficient layer has adhered to the inner fabric walls. Once the porcelain reaches the desired firmness, the mold can be disassembled, and the piece is prepared for firing in a kiln. The use of fabric as a molding material imbues the finished vases with distinctive visual and tactile qualities. The impressions of the cloth's texture, stitching, and folds are visibly transferred to the surface of the vessels, creating an intriguing contrast between the perceived weight and malleability of the material. Furthermore, the application of pigments to the inner fabrics before casting introduces an additional dimension, infusing color that mimics marbling or even denim patterns. A significant advantage of this method is the reusability of the mold. The modular nature of the 3D-printed support structure also allows for extensive customization, enabling the creation of numerous unique shapes and configurations from a relatively small set of initial components. The Forma Fabrica collection exemplifies Nir Neria's commitment to innovative design, with 3D printing and sustainable biomaterials increasingly central to his work. #3DPrinting #AdditiveManufacturing #VaseDesign #CeramicArt #SlipCasting #IndustrialDesign #SustainableDesign #TextileIntegration #NirNeria