MycoWorks Turns Mycelium Into Luxe Leather-Like Alternatives

The article explores the potential of mycelium, the root system of fungi, as a sustainable and versatile material for 3D printing. It highlights mycelium's environmental benefits, particularly in contrast to materials like plastic and cement, which have significant ecological footprints. Mycelium acts as a natural binder, leveraging its hyphae to fuse with and reinforce other materials like wood or straw, forming a solid, moldable, and printable composite. Its carbon-absorbing properties and ability to thrive on waste materials further contribute to a circular economy. The article details the numerous advantageous properties of mycelium. It is a renewable raw material with cost-effective and low-energy processing requirements, and it is easily recyclable and biodegradable. Mycelium-based materials are harmless to human health, non-allergenic, and non-toxic. Physically, mycelium exhibits excellent heat-insulating, flame-resistant, and hydrophobic qualities, while also being remarkably strong and stable. These characteristics make it suitable as a replacement for a wide array of conventional materials, including leather, wood, cardboard, polystyrene, and insulating wool, broadening its applications across various industries. The integration of mycelium with 3D printing technologies is a key focus. The additive nature of 3D printing, which minimizes waste, combined with bio-based materials like mycelium, offers an ecological production method. Extrusion-based 3D printing is commonly used, where a mycelium composite paste is shaped. The composition of this composite can be varied to achieve specific material properties, and the resulting products can feature diverse colors, textures, and patterns. However, the printing process is complex, requiring careful control of parameters. Mycelium is first enriched with raw materials such as wood, sawdust, paper, or cardboard to create a mycocomposite. This material must then be cultivated to achieve the necessary flowability, elasticity, and malleability for printing. A sterile environment is crucial during printing to prevent contamination, as mycelium is susceptible to bacterial infestation. After printing, a second colonization phase allows the living mycelium to expand and solidify the composite. Finally, heat drying stops the fungal growth, ensuring the material properties remain stable and preventing further spread. The article presents several case studies demonstrating mycelium's applications. In architecture, the Shape Lab at Graz University of Technology developed MyCera, a composite of clay, sawdust, and mycelium, showing promise as a sustainable alternative to cement-based binders. London-based Blast Studio created 'The Tree Column,' an architectural element from waste cardboard and mycelium. ETH Zurich's MycoTree project further explored mycelium and bamboo for stable, branched structures. Mycelium is also being utilized for underwater structures, such as those by Urban Reef. In interior design, companies like Buřinka offer designer furniture from mycelium and wood, and artists like Eric Klarenbeek create lightweight furniture from mycelium and straw. Yasmine Mahmoudieh showcased mycelium furniture at the Architecture Biennale, and bioMATTERS studio developed MYCO ALGA tiles from algae and mycelium. Beyond aesthetics, Fraunhofer Institutes have investigated mycelium's insulating properties for sound absorbers and high-performance acoustic loudspeakers. Intriguingly, mycelium's regenerative capabilities are being explored in medicine, with ETH Zurich and TU Delft developing a self-healing hydrogel from shiny lacquer fungus for potential robotic skin applications. These diverse projects underscore mycelium's potential as a sustainable alternative across numerous fields. #Mycelium3DPrinting #SustainableMaterials #BioBasedMaterials #AdditiveManufacturing #GreenBuilding #CircularEconomy #ArchitecturalInnovation #InteriorDesign #MaterialScience

The 'Hive' collection, developed by atelier oï for B&B Italia, explores an innovative approach to upholstery using small leather patches, termed "leaves," to construct a three-dimensional textile. This deconstruction process details the extensive trial and error involved in perfecting this complex material, which ultimately informed the design of hexagonal ottomans and complementary low tables. The initial phase of development focused on material exploration, specifically forming studies with leather patches in various colors and configurations. This involved examining both the front and back of these patch arrangements, noting how individual leather pieces connected to form a cohesive textile, even before full attachment. Following these material studies, the design team moved into conceptualizing how this unique leather textile could be applied to furniture. Early sketches focused on adapting the connected leather structures for an ottoman. This led to the creation of numerous ottoman models, varying in size, form, and leather color, to test the aesthetic and structural possibilities. A significant challenge addressed during development was how to effectively wrap the ottoman legs with the patch textile, requiring dedicated studies to perfect the technique. Further refinement involved developing methods to finish the corners and sides of the ottoman, especially given the irregular edges of the leather patches, ensuring a seamless and polished appearance. In parallel with the ottoman design, the concept evolved to include complementary furniture pieces. Initial sketches were created for a similarly shaped table to be paired with the ottomans. This integration aimed to create a cohesive collection where both the ottomans and tables shared a unified design language, inspired by the distinctive beehive-like texture of the leather. The culmination of this design process resulted in a finished product showcasing three-color ottomans paired with the metal tables. The 'Hive' collection was notably featured in an installation at the B&B Italia Store during the Milan Furniture Fair in April 2013, highlighting the successful application of this innovative textile in a contemporary furniture context. #LeatherUpholstery #3DTextiles #FurnitureDesign #AtelierOi #BBItalia #ProductDevelopment #OttomanDesign #TableDesign #MilanFurnitureFair

MushLume Lighting, founded by BioDesigner/Biomimicry Specialist Danielle Trofe and Design Studio Manager Lujan Brown, presents a collection of bio-fabricated lampshades created from mycelium, the root-like structure of fungi. This innovative approach to lighting design transforms a sustainable raw material into aesthetically pleasing and functional products for both residential and commercial spaces. The production process for MushLume lampshades begins with a hemp substrate inoculated with mycelium spores. Under controlled conditions of moderate temperature and humidity, the mycelium colonizes the hemp, breaking it down while simultaneously binding it together. This organic growth occurs within custom-designed, clear lampshade molds, which are carefully lined with hemp. The mycelium proliferates, filling all available space to form a dense and cohesive structure. This critical growth phase dictates the final shape and structural integrity of the lampshade; any inconsistencies in growth can lead to an uneven product. Once the mycelium has fully developed within the mold, the solid structure is extracted and subjected to a drying process. This step is essential as it arrests further growth and solidifies the mycelium into an inert, durable material. The finished lampshades are notable for their lightweight yet robust characteristics, featuring a unique, organic texture. This texture is reminiscent of mid-century woven fiberglass lampshades, but with an added hint of the roughness found in concrete, offering a distinct visual and tactile quality. Aesthetically, each lampshade possesses a slightly varied, organic appearance, ensuring that every piece is unique. When illuminated, the natural patterns and textures of the mycelium cast a warm, inviting glow, creating ambient mood lighting. MushLume Lighting emphasizes the safety and natural composition of their products, clarifying that while the lampshades are grown from mushroom mycelium, they are not edible. The company assures consumers that the lampshades are made from materials safe and healthy for both people and the environment. The collection includes various lighting fixtures such as pendant lights, table lamps, and chandeliers, with the Hemi Sconce highlighted for its resemblance to cup fungus. A key advantage of the MushLume Lighting collection lies in its minimal environmental impact. The entire manufacturing process is eco-friendly, requiring significantly less energy and water compared to conventional production methods. Furthermore, mycelium is biodegradable, allowing the lampshades to decompose naturally in a compost pile or landfill at the end of their lifecycle. Despite their biodegradability, MushLume states that under suitable dry indoor conditions, their mycelium lampshades are designed to last for decades, promoting a truly sustainable and long-lasting product option. #BioDesign #Biofabrication #Biomimicry #BiophilicDesign #Mycelium #SustainableDesign #LightingDesign #OrganicMaterials #EcoFriendly #DanielleTrofe

Jonas Edvard has developed a sound-absorbing panel using a composite biomaterial made from mushroom mycelium, hemp, and willow. This innovative project, titled Myx Sail / Floor, was showcased at the Mindcraft Project 2023. The panel, measuring 1m x 1m, demonstrates the structural capabilities of this biomaterial, combining both flexibility and rigidity. Edvard's process involves collaborating with the living mycelium material, allowing it to grow and bond with a plant fiber mixture within a pre-designed mold, creating a flexible room divider. The designer's aim is to highlight the potential for organic materials like mycelium to be integrated into both residential and commercial spaces. Edvard's inspiration stems from observing the natural role of mushrooms as recycling agents in ecosystems, breaking down plant matter into soil. He views responsible design as understanding the synergistic relationship between design choices and their environmental impact, ultimately contributing to more sustainable life cycles. This project forms part of a larger research initiative undertaken by Jonas Edvard in conjunction with Arup Engineers in Germany. Their collaboration focuses on investigating the sound-absorbing properties of mycelium. The panels are specifically engineered to absorb sound frequencies ranging from 200 to 2500 Hz, which encompasses the typical range of human speech and interaction. Edvard envisions a future where natural, organic materials become essential components in building construction and interior architecture. His design philosophy is deeply rooted in respect for nature, emphasizing the intricate connection between raw materials and human existence. He explains that his work involves new research into natural raw materials to forge a new design vocabulary, testing the materials' consistency, durability, and aesthetic appeal to uncover their hidden possibilities and qualities. Edvard's experimental and open-minded approach leads to the creation of novel materials and objects derived from local and organic sources, adhering to a circular and sustainable ethos. During the testing phase, he explored various material combinations to optimize the design, appearance, and functionality of mycelium-based sound-absorbing materials. He highlights the inherent qualities of mycelium, such as its natural, porous, lightweight, and stiff characteristics. His research-driven work aims to recontextualize materials into functional forms, stimulating discourse about the intrinsic value and aesthetic appeal of natural origins. He expresses a desire for people to experience the tactile qualities of these sound-absorbing materials and to foster a new understanding of how natural materials can be seamlessly incorporated into homes and living environments. The project details indicate that the Myx Sail / Floor panel measures 100 x 100 cm and was created in 2023 for the Mindcraft Project event. #Mycelium #SoundAbsorption #Biomaterials #SustainableDesign #JonasEdvard #MindcraftProject #OrganicMaterials #InteriorDesign #MaterialInnovation

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

Sustainability has transitioned from a mere buzzword to a fundamental aspect of interior design, driven by advancements in material innovation that offer regenerative and circular solutions. The focus has shifted to the environmental impact of products and designs, making material composition a primary consideration. While longevity remains crucial for furniture and homes, the acceptance of biobased materials with shorter life cycles is also gaining traction. Experts note that consumers and specifiers are increasingly open to wholly biobased solutions, even if they last for a few years, recognizing their contribution to healthier living spaces. Concurrently, technical innovation is enhancing the performance of biobased materials to rival their synthetic counterparts. The conversation around sustainable materials now extends far beyond recycled glass vases or reclaimed wooden chairs, encompassing a material’s entire life cycle, its regenerative properties, and its role in promoting health and well-being within the home. Designers are skillfully integrating these values without compromising aesthetic appeal, making sustainable material trends visually desirable. Six key sustainable material trends are emerging. First, recycled surface materials are evolving in appearance and composition. Foresso, for example, is a 'timber terrazzo' made from wood waste, offcuts, and a non-toxic binder, offering a low-carbon footprint and a projected lifespan of up to 50 years. This material provides the warmth of timber with the resilience of a harder surface, proving more cost-effective than recycled plastic surfaces that require more frequent updates. Another innovative surface material is Marwoolus®, a patented composite using recycled marble dust and wool fibers, which mimics marble's natural beauty while being lighter, water-repellent, and flexible. Its customizable nature allows for integration into diverse design contexts. Second, algae is gaining prominence as a highly renewable natural resource. Its rapid growth and natural qualities make it suitable for various applications, including petroleum-based ink alternatives and innovative products like the LIGHT oil lamp by LAYER for Muuto. This sculptural lamp, designed with algae oil as a power source and salt-cast aluminum, provides off-grid illumination, connecting users to essential resources. Third, cork, once a staple in 1970s homes, is experiencing a resurgence due to its regenerative qualities and reimagined aesthetic. Modern applications, such as the 'Casa Cork' installation by Rockwell Group, highlight its versatility. Post-industrial cork waste, from wine stopper production, is now being used for lighting collections, offering acoustic insulation, water resistance, hypoallergenic properties, and a unique, soft texture. Fourth, mycelium is transforming into sophisticated biomaterials for furniture. Studio TOOJ's DUK Series, featuring furniture crafted from Reishi (a mycelium-derived material), demonstrates that luxury and sustainability can coexist. This application showcases mycelium's potential in high-end interiors, offering an organic and tactile appeal while elevating sustainable design principles. Fifth, bacterial cellulose fiber is emerging as a sustainable alternative for textiles. Projects like 'Interwoven Cultures' by Mari Koppanen and Estelle Bourdet explore its use in woven textiles, noting its leather-like feel, adaptability, and purity. Its ease of cultivation and distinct visual appeal suggest significant commercial potential. Finally, plant-based natural paints are addressing the complexities of sustainable paint options. Brands like Edward Bulmer emphasize transparency by listing all ingredients, countering greenwashing in the industry. These paints not only offer environmental benefits, such as improved indoor air quality, but also provide rich, natural pigmentation that interacts beautifully with light, enhancing the aesthetic of living spaces. Despite challenges in scalability and blending synthetic binders, incremental improvements are continually making sustainable materials more viable and easier to specify. The ongoing development in biomaterials indicates an exciting future for interior design, where sustainable material trends will play a pivotal role in shaping our homes. #SustainableMaterials #InteriorDesignTrends #MaterialInnovation #Biomaterials #RecycledSurfaces #AlgaeDesign #CorkApplications #MyceliumFurniture #PlantBasedPaints

Agoprene represents a novel biodegradable foam designed for sustainable padding applications, primarily composed of Norwegian kelp, mineral fillers from seashells, and cellulose feedstock from the paper industry. This innovative material stands out in the padding sector due to its high biogenic composition, reaching up to 85%, significantly surpassing traditional fossil fuel-derived expanded foams and more sustainable variants that typically contain only 20-30% bio-based material. Agoprene was developed as an alternative to polyurethane (PU) foams, offering a 100% biodegradability based on internal studies, further enhanced by the complete absence of harmful or petroleum-based chemicals in its formulation. The production process involves mixing kelp, mineral fillers, and paper industry by-products to create a paste. This paste then undergoes an expansion process utilizing water injection and air foaming, which imparts the foam with its characteristic lightness, elasticity, and porous structure. The current manufacturing of this bio-foam is manual, adopting an artisanal approach. However, the company is actively engaged in a scale-up phase, focusing on integrating automated systems to optimize production flows and standardize formats. The immediate goal is to produce ready-to-use sheets, which will streamline application phases and reduce overall processing times for various industries. Agoprene's versatility allows for its application across multiple sectors, including furniture upholstery, padding for accessories and textiles, and the packaging industry. The foam is typically supplied in rolls or standard sheets, with a width of 2 meters and thicknesses ranging from 2 millimeters to 5 centimeters. Thicker applications, up to 10 centimeters, can be achieved by stacking multiple layers. Furthermore, the material has demonstrated workability with molding techniques, although potential shrinkage may impose limitations on shape design and production rates. An internal Life Cycle Assessment (LCA) has revealed that Agoprene boasts a carbon footprint approximately one-third smaller than that of conventionally manufactured polyurethane foam. This significant environmental advantage positions Agoprene as a forward-thinking option for designers and creatives seeking to integrate eco-conscious materials into their projects. The start-up's commitment to sustainability offers a compelling alternative in the market for technical components used in furniture and interior design, providing solutions for both flat cushioning surfaces and flexible, curved structures. It bridges the gap between creative design, technical demands, and ecological responsibility. #MaterialsAndSurfaces #InnovationDesign #InnovativeMaterials #SustainableDesign #EcoConsciousDesign #BiodegradableFoam #FurnitureUpholstery #GreenTechnology

Danielle Trofe, through her brand MushLume Lighting, is pioneering a new direction in design by transforming mushrooms into light fixtures. This innovative approach integrates nature, technology, and craftsmanship, offering a forward-looking vision for interior spaces. The article highlights an interview with Danielle Trofe in her Brooklyn studio, where she discussed the origins and development of her mycelium-based lighting products. Trofe's journey into biomaterials began in 2011 with Danielle Trofe Design, initially focusing on hydroponics. However, in 2014, her research into sustainable material alternatives led her to discover mycelium, the root structure of fungi. The realization that she could grow objects into specific shapes using a living organism became a pivotal moment, inspiring her to dedicate a decade to collaborating with a biomaterials company to bring mycelium to the forefront of lighting design. This commitment addresses the growing concern over the environmental impact of mass production by offering a sustainable alternative. Mycelium is a rapidly renewable material known for its strength, fire resistance, and biodegradability. It grows by binding agricultural byproducts, making it an excellent choice for eco-conscious design. Trofe explained that MushLume Lighting utilizes low-heat LED bulbs, which are well-suited to the fire-resistant properties of mycelium. The production process involves hand-packing hemp substrate into molds, allowing the mycelium to grow into a solid structure within 7-10 days, forming the base of the lamps. The lamps’ domes feature natural curves that enhance the interior illumination, creating a soft and inviting glow. The use of natural, VOC-free lime wash provides earth tones that complement the organic texture of the mycelium. Addressing common concerns about using living organisms in home products, Trofe clarified that the mycelium lamps are not 'alive' when they reach consumers. The material undergoes a heat and drying process that renders it inert, eliminating any possibility of mushrooms sprouting from the fixtures. The article notes the challenges Trofe faced in establishing MushLume Lighting, as there was no existing brand to support this novel material. This necessitated creating a new brand to introduce, cultivate, and validate mycelium as a viable product in the market. While MushLume Lighting has been established in the U.S. for a decade, it has recently gained traction in European markets, where sustainability is a central tenet of design. This expansion underscores the alignment of Trofe’s work with the continent's eco-conscious movement. Trofe's passion for nature and sustainability is a driving force behind her design philosophy, emphasizing the need for balance in human creations and a deeper connection with the environment. She expressed inspiration from algae as a potential future material due to its rapid renewability and ability to replace more resource-intensive options. The article concludes with a tour of Trofe's studio, highlighting the hands-on craftsmanship involved in filling molds and observing the mycelium growth process. This blend of scientific innovation and artistic creation reflects Trofe’s thoughtful approach to design. The interview ended with Trofe sharing her ideal dinner guests, including figures like Merlin Sheldrake, Paul Stamets, Tom Dixon, Zaha Hadid, Ray Eames, and Lonneke Gordijn, indicating a broad appreciation for both scientific and design pioneers. #LightingDesign #BiophilicDesign #InnovationDesign #InnovativeMaterials #SustainableDesign #MyceliumLighting #DanielleTrofe #MushLumeLighting

The nonprofit organization Terreform ONE has introduced a pioneering mushroom chaise lounge, showcased at the International Contemporary Furniture Fair during NYCxDesign week. This innovative piece of furniture challenges traditional manufacturing processes by proposing a method of 'growing' furniture rather than constructing it from harvested materials like wood. The core concept behind this initiative is to provide an environmentally responsible alternative to conventional sofas and seating options, which often rely on resource-intensive production and contribute to landfill waste. The mushroom chaise is notable for its rapid production timeline, having been grown in a mere seven days. This expedited creation process highlights the potential for mycelium-based materials to offer quick and efficient manufacturing solutions. The material itself is entirely biodegradable and waste-free, ensuring that at the end of its useful life, the chaise can be safely composted or naturally decompose in the environment. This characteristic positions it as a sustainable product that actively benefits the ecosystem rather than causing harm. To develop the chaise, Terreform ONE collaborated with Ecovative, a New York-based company specializing in mushroom-derived materials for various applications, including packaging and structural components. The process involved constructing a masonite frame, which was then infused with mycelium spores. The mycelium, the vegetative part of a fungus, grew within and around this frame in a controlled laboratory setting, forming the structure of the chaise. This method demonstrates a novel approach to furniture design, leveraging biological processes for material creation. Vivian Kuan, Executive Director of Terreform ONE, articulated the organization's vision, emphasizing the environmental advantages of growing furniture. She underscored that this approach offers an innovative alternative that supports environmental health through its biodegradable nature. The exhibition at the International Contemporary Furniture Fair allowed attendees to view the Mushroom Chaise alongside other innovative designs, such as Jason Krugman's mechanized morphing LED sculptures, further highlighting the intersection of sustainable design and technology. The project's next phase involves developing a chaise made entirely from mushrooms, eliminating the need for even a masonite frame. This ambitious goal aims to push the boundaries of mycelium-based design, creating a fully integrated and biologically grown product. The initiative reflects a broader movement within design and architecture to explore sustainable materials and closed-loop systems, reducing environmental impact and promoting regenerative practices in manufacturing. #TerreformONE #MushroomFurniture #MyceliumDesign #SustainableDesign #EcoFriendlyFurniture #BiodegradableMaterials #ICFF #NYCxDesign #Ecovative

The construction industry is a major contributor to carbon emissions, accounting for approximately 38% of all CO2 emissions. In response to this environmental impact, architects, designers, and researchers are actively seeking ways to reduce the carbon footprint of building materials throughout their production and use. A significant area of focus is biofacture, which involves utilizing biological organisms to create materials. This approach aims to develop carbon-neutral or even carbon-negative alternatives to conventional building products by leveraging the capabilities of organisms like algae and fungi. Additionally, research is underway to find novel applications for abundant, yet often overlooked, natural resources such as desert sand, soil, and demolition waste. One innovative solution is the development of algae-grown limestone by researchers at the University of Colorado Boulder. Inspired by coral reefs, this method involves cultivating single-celled algae that sequester and store CO2 in mineral form, potentially making cement production carbon neutral or negative. This technology is designed to integrate seamlessly with existing concrete construction practices. Another example is Indus, a bio-integrated wall system featuring tiles layered with microalgae to treat polluted water in developing Indian communities. These tiles, designed with biomimetic patterns, are produced on-site using local materials and 3D-printed molds customized for specific pollutants. The project highlights a localized and adaptable approach to environmental challenges. Ecovative, in collaboration with The Living studio and ARUP, has pioneered mycelium-grown bio-bricks, demonstrating their potential as sustainable building materials. These bricks are produced by combining agricultural waste products with fungi in molds, which grow into the desired shape in less than a week. The resulting material is solidified by deactivating the microorganisms, offering a compostable and carbon-negative alternative to traditional bricks. Karen Kerstin Poulain explores building with soil, introducing a pouring method that creates a concrete-like composite resistant to compression and cracking. This material, made from tepetate, water, and rice husks, requires minimal energy input and also addresses agricultural waste. Carbon Craft utilizes industrial byproducts by transforming "carbon black," a waste material from fossil fuel combustion, into decorative tiles. This process prevents further burning of the carbon black, locking it into a durable product. These tiles are made by shaping, cutting, and mixing carbon black with cement, incorporating a 200-year-old craft tradition and empowering local artisans. TU Delft is developing regenerative bio-concrete by incorporating bacteria into the mix. These water-activated bacteria feed on calcium lactate, producing limestone that can heal hairline cracks in the concrete, thereby enhancing its mechanical qualities and extending its lifespan. Myceen focuses on mycelium-based acoustic panels and furniture, capitalizing on the material's carbon-negative, compostable, high acoustic absorption, low thermal conductivity, and high fire resistance properties. Finite, a material developed by Imperial College London students, offers a concrete alternative using desert sand. Unlike traditional concrete, which relies on increasingly scarce river sand, Finite utilizes abundant desert sand by binding it with organic binders. This composite material can also be remolded for multiple life cycles. Breathe Bricks, designed by Ar. Carmen Trudell, are porous concrete blocks that mimic cyclone filtration to absorb pollution from the air, transferring dust and pollutants to the material's interior. Finally, the WOOL2LOOP project addresses mineral wool waste by transforming it into ceramic or concrete-like geopolymers through alkaline activation. This approach aims to create circularity for a voluminous waste material, offering an alternative to Portland cement with comparable mechanical properties and significantly reduced carbon dioxide emissions. #SustainableBuildingMaterials #Biofacture #MyceliumBricks #WaterPurifyingTiles #AlgaeGrownLimestone #CarbonNeutral #RecycledMaterials #GreenArchitecture #MaterialInnovation

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

Fefostudio, a local design firm, and architect Kamilla Csegzi have collaborated to design "The Ephemeral Table," a large table crafted primarily from mycelium. This innovative piece was featured at the Collectible design fair in New York. The table's composition includes 50 percent mycelium substrate mixed with various organic waste materials, such as paper and leaves. The project, named Acts, is structured as a three-part series, with the Collectible presentation being the second iteration. The initial part involved a studio dinner during NYCxDesign in May, and the third act is planned as an outdoor dinner. Fernando "Fefo" Aciar, the founder of Fefostudio, explained that the use of mycelium in this project represents a collaboration with nature. This design questions the inherent value traditionally assigned to material culture, emphasizing its transient nature and continuous transformation, much like natural processes. Aciar highlighted that the creation is fleeting, showcasing the positive cycle from decay to growth, akin to everything in the natural world that evolves and transforms over time. He further elaborated that by partially relinquishing creative control and allowing nature to influence the design, the mycelium table transforms into an evolving, living entity that facilitates a trio of gatherings. The table's form was created by molding it around objects found within the studio. Subsequently, the voids left in the table were utilized to develop molds for the amber-colored glassware that accompanied the presentation. Fefostudio and Kamilla Csegzi aimed to establish a "dialogue" between the materials employed and the circular production methods integrated into the design. Aciar underscored that the mycelium table itself acts as a mold for new objects, thereby initiating an interactive exchange between "positive and negative," "content and container," and "natural and artificial" elements. By reversing these roles, the installation accentuates the perpetual circularity inherent in their creative process. For the final stage of the project, Aciar intends to leave the table at the location of the last dinner. This act, described as "Act III," symbolizes the project coming full circle, returning the piece to nature to disintegrate. As the table merges with the ground, it is expected to foster the growth of new plants, which will, in turn, facilitate future communal gatherings. Over the past decade, mycelium has gained increasing recognition in various design applications, with designers exploring its potential. This material has been successfully incorporated into the creation of diverse objects, including bicycle helmets, lampshades, and even stage sets for concerts. "The Ephemeral Table" stands as a testament to the potential of biodegradable materials and circular design principles in contemporary furniture design. The project challenges conventional notions of permanence in design by embracing natural processes of growth and decay. It serves as a practical demonstration of how art and design can intertwine with ecological concepts, offering a sustainable alternative to traditional material consumption. The collaboration between Fefostudio and Kamilla Csegzi exemplifies a forward-thinking approach to design that prioritizes environmental consciousness and the inherent beauty of natural transformation. This initiative not only presents an artistic creation but also sparks a broader conversation about sustainability, material innovation, and the cyclical relationship between human creation and the natural world. #MyceliumDesign #EphemeralTable #Fefostudio #KamillaCsegzi #CollectibleDesign #BiodegradableMaterials #CircularDesign #SustainableFurniture #NewYorkCity

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

This article introduces Fluff Stuff, an innovative sustainable textile filling developed by Master's degree students Lukas Schuck and Tea Auramo at Helsinki's Aalto University. Fluff Stuff offers a natural alternative to traditional, often unsustainable, textile filling materials such as down feathers and polyester fibers. The core of this innovation lies in utilizing fibers from the broadleaf cattail plant (_Typha latifolia_), which is cultivated on rewetted peatlands in Finland. This approach not only provides a sustainable filling material but also promotes regenerative agricultural practices by addressing the significant carbon emissions associated with drained peatlands. Drained peatlands in Finland contribute approximately 60% of the country's agricultural carbon emissions, and rewetting them by restoring natural water flow effectively halts these CO2 releases. The Fluff Stuff project's primary goal is to contribute to the restoration of these vital peatlands while simultaneously offering an eco-friendly solution for the textile industry. Auramo highlights that Fluff Stuff aims to rethink Finnish peatland management and the textile industry by integrating bio-based material innovation with regenerative farming. The ultimate vision is to eliminate the global reliance on polyester and down for textile fillings. The team has already designed prototype products, including pillows, cushions, duvets, and clothing, all filled with these plant fibers. The chosen plant, _Typha latifolia_, is indigenous to Finnish peatlands and thrives in similar climatic conditions worldwide. A key characteristic of _Typha latifolia_ fibers is their natural hydrophobic wax coating. This inherent property makes the fibers highly water-resistant, as demonstrated by their ability to absorb 66% less water than down and dry twice as fast. These attributes make Fluff Stuff a practical and superior alternative for products requiring warmth and moisture resistance. The current harvesting method involves extracting cattails from rewetted peatlands in Finland using a prototype handheld machine that employs suction. This innovative project represents a significant step towards more sustainable textile production and environmental rehabilitation, offering a promising future for eco-conscious textile fillings and land management. #SustainableTextiles #BioBasedMaterials #PeatlandRestoration #AaltoUniversity #TextileInnovation #CattailFibers #Finland #EcoFriendlyFilling #RegenerativeAgriculture

Kelly Rene Jelinek, an artist operating out of Little Stag Studio, creates life-sized faux taxidermy animal mounts using upcycled fabric swatches. Her work offers an alternative to traditional taxidermy, providing a cruelty-free option for interior decoration. Jelinek's creations, which include deer, caribou, and moose mounts, blend traditional folk art with a whimsical aesthetic, serving as unique conversation pieces for any home. The artist's process involves meticulously crafting these animal forms from old scraps of upholstery fabric. This method not only gives new life to discarded materials but also transforms a traditional household item into a contemporary work of art. Jelinek expresses that her artistic journey began with a passion for repurposing old upholstery found in thrift stores, leading to the development of her distinctive style. Her inspiration is deeply rooted in her rural upbringing in Wisconsin, where taxidermy deer and game mounts were common household decor. Jelinek found these items fascinating rather than unsettling, a sentiment that evolved into her current artistic practice. Her interest in old upholstery and her fascination with animal mounts converged during her college years, resulting in the creation of her first upholstered animals. This combination of interests highlights a creative approach that reinterprets conventional decor through sustainable practices. The faux taxidermy pieces are designed to add an animalistic touch to interior spaces. Each mount is custom-made, emphasizing individuality and artistic craftsmanship. Jelinek's work represents a fusion of art, design, and environmental consciousness, offering a unique decorative solution for those seeking ethically sourced and creatively imagined home accents. The artist's commitment to using recycled materials also promotes an eco-friendly approach to interior design, aligning with broader trends in sustainable living. #FauxTaxidermy #UpcycledFabric #EcoArt #HomeDecor #SustainableDesign #AnimalArt #InteriorDesign #CrueltyFree

French architect Clarisse Merlet, through her studio FabBRICK, is demonstrating the significant potential of recycling textile waste into viable construction materials. Originating from a school project, Merlet's initiative addresses the substantial pollution generated by the construction and fashion industries. The fashion industry alone contributes millions of tons of textile waste annually in Europe, with a considerable portion remaining uncollected. FabBRICK aims to transform this discarded textile into insulating, structural, and aesthetic building bricks, which can then be used to create furniture or partition walls. The development process involved extensive experimentation to refine the technique. Initially, discarded textiles are sorted by color, responding to customer preferences as FabBRICK avoids dyeing its bricks, instead deriving color from the source materials. The textile is then shredded into fibers of varying lengths (7mm, 20mm, or 40mm) depending on the project's requirements. A crucial element of the process is the proprietary, 100% ecological binding agent, developed with an engineer, which transforms the textile fibers into a clay-like consistency. This binding agent was specifically formulated to be rot-proof and mold-resistant, overcoming a significant challenge in using organic waste for construction. The mixture of fibers and glue is carefully weighed to ensure consistent density before being manually loaded into a patented machine. This machine compresses the mixture into brick form over approximately 30 minutes. The bricks then undergo a natural drying process in ambient air for 10 to 15 days. Once cured, these bricks exhibit impressive characteristics, including mechanical resistance comparable to concrete blocks, good acoustic and thermal insulation properties, and satisfactory fire resistance. While they possess good water resistance, indoor use is currently recommended. FabBRICK's business model emphasizes local production, with all ingredients and machinery sourced locally in France. This commitment to proximity is a core value, aiming to foster local manufacturing and reduce environmental impact. Despite its local focus, the studio has a global vision, recognizing the ubiquitous nature of fast fashion waste. The long-term plan involves automating the production process to increase recycling capacity and replicating the FabBRICK Factory model first within France and then internationally. This expansion strategy seeks to establish local production units globally, situated close to sources of textile waste, thereby promoting sustainable construction practices worldwide. #SustainableDesign #InnovativeMaterials #TextileRecycling #EcoFriendlyConstruction #CircularEconomy #ArchitecturalInnovation #LocalProduction #FabBRICK

The concept of biophilia, initially introduced by psychoanalyst Erich Fromm in the 1970s and further developed by biologist Edward O. Wilson in the 1980s, describes the innate human connection to nature and all living things. While a specific biophilic gene remains unidentified, the universal appreciation for the well-being derived from natural environments has propelled biophilic design into prominence across various industries. Biophilic design extends far beyond simply incorporating potted plants. It encompasses a broad spectrum of design elements, including patterns, colors, materials, and textures, to integrate natural elements into indoor spaces. This approach offers designers numerous opportunities to infuse elements of wellbeing into products and design processes. Table Place Chairs exemplifies how furniture can be a primary vehicle for integrating nature into an environment. The company emphasizes the acoustic properties of wood, ensuring all its oak and beech products are FSC certified. These wooden products are available in various natural stains that highlight the natural grain, allowing them to complement diverse biophilic design aesthetics, from bright, airy spaces to darker, more intimate interiors. Research indicates that visual connections to nature in workspaces can significantly enhance employees' cognitive functions. Table Place Chairs addresses this by offering clever solutions, such as natural wood finishes, grain enhancement on oak-framed chairs, and customization options like adding rattan to their Clover seating collection. Furthermore, the company utilizes recycled timber as a sustainable alternative for tabletops. Effective biophilic design integrates all elements of nature to create sustainable and livable spaces. This shift is evident in architecture and interior design, moving away from concrete-heavy structures towards incorporating more natural elements, such as vibrant oasis walls, freshwater aquariums, and advanced air filtration systems. Textiles and soft furnishings are crucial in unifying biophilic design schemes. They achieve this through the use of natural colors, organic and dry textures, and patterns inspired by flora, fauna, and botanicals. ILIV has recently launched two collections that draw inspiration from biophilic design. The Exotic Garden collection, influenced by warmer climates, features six coordinating designs with tropical origins, incorporating leaf details and intricate exotic plants to create balanced spaces. The Serene collection, designed to evoke calmness and tranquility, reflects a strong trend that emerged during the global pandemic. This collection aims to extend the feeling of relaxation and ease experienced in homes to contract environments. A study by Professor Sir Cary Cooper, titled 'Biophilic Design in the Workplace,' surveyed 3,600 office workers across Europe and the Middle East. The findings highlighted that internal green spaces, natural light, and foliage positively impact employee mood, productivity, and job satisfaction, while also reducing stress. Wallcoverings offer an excellent medium to combine color and print to emulate the natural world, featuring organic colors and textures of stone, wood, and botanicals, as well as prints inspired by landscapes, fauna, and flora. Newmor Wallcoverings provides interior designers with a wide array of biophilic-inspired patterns. Examples include Leaves, a large-scale skeletal leaf design; the witty Banshee cacti pattern by The Patternistas; and the dramatic Blooming Marvellous collection, which features large-scale palms and florals. These designs can be printed on vinyl wallcoverings or window film, expanding opportunities to incorporate biophilia into interiors. The application of biophilic-inspired designs in living, working, and relaxation spaces has been shown to enhance feelings of well-being, happiness, and serenity, as well as improve concentration, creativity, and productivity, and reduce stress and anxiety. #BiophilicDesign #InteriorDesign #SustainableMaterials #WorkplaceWellbeing #NaturalElements #TextileDesign #FurnitureDesign #Wallcoverings