Anthro Is Making Scallops and Zigzags the New "It" Shapes

Milan Design Week 2023, the first to return to its regular April schedule since 2019, showcased significant shifts and emerging trends in interior design. Attendees observed a strong emphasis on comfort and inviting silhouettes, with “Squish Is the New Blob” emerging as a dominant theme. Oversized, plump seating, such as Gal Gaon’s Macaron chairs at Nilufar Gallery and Cassina’s Moncloud sofa by Patricia Urquiola, highlighted a preference for soft, curvaceous forms designed for relaxation. Fendi Casa also embraced this trend with its Blow Up modular sofa, indicating that comfort remains a top priority in contemporary design. Outdoor living spaces are undergoing a technicolor transformation, moving away from traditional neutrals to incorporate vibrant hues and pastels. Joana Vasconcelos’s new indoor/outdoor BomBom chairs for Roche Bobois exemplify this trend, inspired by Portuguese sunsets and transforming showrooms into kaleidoscopic displays. Flexform and Dedon also introduced colorful outdoor furniture, with Dedon developing a unique color-shifting fiber for its seating, underscoring a desire for playful and expressive outdoor environments. Nature-inspired design, specifically “Moss-Core,” is another prominent trend, moving beyond subtle nods to nature to an immersive integration. Buccellati’s exhibit, featuring accessories nestled among carnivorous plants curated by Lily Kwong, and Forma Rosa’s ceramics paired with real flora and fauna at Alcova, illustrate this approach. Rinck’s designs incorporating undulating vine motifs further highlight the trend of intertwining design with natural elements, expected to influence textiles, rugs, and soft furnishings. Lighting is becoming more portable and versatile, reflecting a move towards indoor-outdoor living. Euroluce, the biennial lighting fair, featured portable lamps that can be easily moved, exemplified by Ginori 1735’s perfume bottle-inspired lights designed by Luca Nichetto, and Tom Dixon’s miniature versions of popular silhouettes. Italian design house Porada also contributed with the Ekero Move, a small, portable wood lamp, showcasing the growing demand for flexible and functional lighting solutions. Murano glasswork is experiencing a contemporary resurgence, with new designers breaking into the traditional space. Barbini Specchi Veneziani’s exhibit at Alcova showcased traditional Venetian glass alongside modern interpretations by emerging artists like Lucia Massari, whose confectionary Toppings chandeliers were displayed at Nilufar Depot. Dolce & Gabbana’s collaboration with Bradley Bowers on the chrysalis-like Fiosa vase, and Sofia Zevi Gallery featuring Akira Hara’s intricate vessels, demonstrate a fresh approach to this heritage craft. Aluminum is gaining traction as a preferred material, appreciated for its lightness and versatility. At Alcova, Arthur Vandergucht presented industrial tables and stools made of aluminum, emphasizing minimalist design and functional adornments. Kiki Goti’s debut collection also featured aluminum components in sconces, candlesticks, and mirrors, showcasing its playful potential. Ledongil Workshop from Korea presented functional objects with stainless steel bases and aluminum plates coated in glass fiber, creating a light, plastic-like appearance. Trompe-l’œil effects are adding a chic, deceptive element to design. Rinck, the French cabinetmaker, presented furnishings with subtly marbled surfaces that, upon closer inspection, were revealed to be lightweight composites. The Touch Wood duo developed a unique terrazzo using wood chips, challenging traditional material perceptions. Additionally, N/A, a design partnership between Natalia Triantafylli and Andrew Scott, utilized 3D printing to create clay mirrors and vessels based on scanned objects, blending traditional craft with digital aesthetics. Finally, textile design is focusing on sustainability and innovative production methods. Goran Sidjimovski’s BOI collection featured home textiles knitted from dead-stock yarns, organic cotton, and recycled polyester, with a production process that minimizes waste. Atelier LUMA presented a wool tent with a working felt machine and floor pillows woven from palm leaves, highlighting alternate uses for underloved textiles. Demeter Fogarasi’s “Frozen Textile” chair, made from a heat-pressed jute-based biocomposite, showcased how innovation can create inviting and comfortable forms from unexpected materials. #MilanDesignWeek #InteriorDesignTrends #FurnitureDesign #SustainableDesign #LightingDesign #MaterialInnovation #OutdoorLiving #TextileArt #DesignExhibitions

Village Handcrafted Cabinetry, a company based in Lansdale, Pennsylvania, has been creating custom cabinetry and wood products for over three decades. Founded by Joseph Trave, the business specializes in designing, building, finishing, and installing a wide range of custom items, including bathroom vanities, cabinet doors, kitchen cabinets, pantries, and walk-in closets. The company caters primarily to mid- to high-end residential clients, working with designers, builders, remodelers, and a small percentage of retail customers. Joseph Trave's passion for woodworking began at a young age, leading him to establish the company in 2000. Starting from a 400-square-foot garage, the business has expanded significantly to occupy over 60,000 square feet of manufacturing space. In 2003, Trave acquired another local cabinetmaker's business, Village Woodshop, integrating its machinery and employees. The company later moved to Lansdale in 2006, establishing a showroom and a larger production facility. Over the years, the company has navigated economic challenges, including recessions and a pandemic, through the dedicated efforts of its four-person management team, which includes Joseph Trave as CEO, his wife Gina as director of marketing, Gary Marks as director of finance and purchasing, and Jennifer Marks as director of Human Resources/payroll. Village Handcrafted Cabinetry prides itself on its ability to produce custom products entirely in-house. All cabinet construction utilizes mortise and tenon joinery. The company also produces its own moldings, offering an extensive library of 1,200 profiles and the capability to create custom profiles to match existing designs. The manufacturing process incorporates advanced technology, including CNC equipment for both panel processing and solid-wood machining. Automated loaders and unloaders are used with their Stratos 3-axis machining center and Weeke Vantage 2000 CNC processing center, facilitating efficient production of nested panels and raised panel doors. Further technological investments include TigerStop stations for producing stiles and rails, and a miter fold machine for creating precisely joined corners and face frames. For sanding, the company uses a Timesavers multi-head flat sander and an MB Roba Tech sander, which is capable of sanding both flat and profiled parts. A sophisticated dust collection system gathers sawdust, which is then burned to provide heat for the facility during winter, showcasing an environmentally conscious approach to waste management. The company also features an in-house finishing lab, referred to as the “finishing kitchen,” where skilled artisans perform custom color matching. Clients often present complex finishing challenges, and the team meticulously creates samples under bright lights to ensure exact color replication, with both the company and the client retaining a sample for consistency. A newer addition is a small in-house metalworking shop, which handles minor fabrication for items like hoods and floating shelves, ensuring proper separation from woodworking operations for safety. Despite its current 60,000 square feet of production space, the company produces approximately seven to ten kitchens per week and is exploring further growth opportunities, including potential acquisitions or additional facilities. #cabinetry #customCabinets #woodworking #CNCManufacturing #residentialDesign #kitchenDesign #handcraftedLook #productionEfficiency #woodDustCollection

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

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

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

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

The article explores the burgeoning popularity of mushrooms, which have transcended their traditional biological role to become a pervasive cultural phenomenon, influencing home decor, fashion, beauty, and wellness. This trend is evident across various social media platforms, where mushroom-themed items and aesthetics, such as the Murano mushroom lamp and 'cottagecore,' are frequently shared by influencers and stylish individuals. The Murano lamp, in particular, has seen a surge in demand, leading to rapid sell-outs in vintage furniture boutiques. The historical presence of mushrooms in popular culture dates back to Eastern European and Scandinavian folklore, where they symbolized mystery. Notable figures like Beatrix Potter, a mycologist herself, incorporated fungi into her works. More recently, the 1960s and 70s saw mushrooms associated with psychedelic culture, influencing everything from decor to fashion. The current wave of mushroom popularity extends beyond aesthetics. Fashion brands like Brain Dead and EDEN Power Corp are incorporating mushroom motifs and mycelium-based materials into their collections, with mycelium packaging emerging as a sustainable alternative in various industries. Art installations and exhibits, such as Naoko Wowsugi's "THE FUNGUS AMONG US" and Somerset House's display, further highlight the mushroom's cultural significance. In the wellness sector, mushrooms are lauded for their adaptogenic properties. Products ranging from Moon Juice's reishi-infused skincare to Rainbo's medicinal mushroom tinctures are gaining traction. The author shares a personal experience of reishi mushrooms alleviating symptoms of irritable bowel syndrome and stress, underscoring the growing scientific interest in the 'gut-brain axis' and the potential healing benefits of fungi. The movement to decriminalize nature and increased research into psychedelics are cited as contributing factors to this multifaceted trend, suggesting a new era of health and well-being. The article concludes with a selection of mushroom-themed products, from home goods to wellness supplements. #MushroomTrend #SocialMedia #HomeDecor #Fashion #Wellness #Cottagecore #Fungi #Adaptogens #Sustainability

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

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 explores the growing acceptance and diverse applications of composite building materials in home design, highlighting their advantages over natural materials in terms of durability, low maintenance, and sustainability. These high-technology processed materials, while some have been in the market for decades, are now offering increased customization and sustainable solutions, driven by a post-pandemic shift towards home-centric living and a desire for convenient, long-lasting products. The article discusses wood-plastic composite (WPC) products, such as those offered by Everwood, which are primarily used for outdoor applications like facades, railings, and fins. WPC materials mimic the aesthetic of wood but offer superior weatherproofing and termite resistance, requiring minimal maintenance. Floor Sketch, a brand founded by Rajesh M. in 2019, has seen a resurgence in demand for pergolas and gazebos made from WPC, offering custom designs that can withstand harsh climates and come with material life warranties. The brand also uses Stone Polymer Composite (SPC), a limestone-based material for interlocking floors, which gained popularity before the pandemic due to its termite-proof and waterproof properties, enabling quick installations, such as an overnight floor replacement in a Chennai apartment. Floor Sketch emphasizes its green certifications for various indoor and outdoor products. Aluminium composite panels (ACP), in use for over 50 years, have seen increased demand in India, particularly with the growth of the IT sector. Brands like Eurobond, Alucobond, and Aludecor provide ACPs for architectural applications, allowing for extensive customization in color and design. Siddharth A. Shah of Eurobond notes the desire for unique building aesthetics, offering 380 designs and colors, with custom branding options for large orders. ACPs, originally developed for their long life, low maintenance, UV resistance, and fire safety in external curtain walls, are now widely used for fascia cladding. Eurobond has also introduced 32 new shades and offers a 100% recyclable ACP with an aluminum honeycomb structure, valued for its lightness, strength, and rigidity. The article also notes a trend of residential clients adopting ACPs for false ceilings, a use traditionally reserved for commercial buildings. The discussion then shifts to wood-alternative composites. Reliance's RelWood produces Natural Fiber Polymer Composite (NFPC) boards using patented German technology, offering a waterproof, low-maintenance, termite-proof, and recyclable alternative that can also be thermoformed for furniture. Indowud, founded by the Benganis after exiting the plywood industry, focuses on sustainable, 'zero wood' boards. After two years of research, they developed Indowud NFC (Natural Fibre Composite) by incorporating over 110 kg of agricultural husk for every 100 kg of resin, challenging standard WPC products that use less wood fiber. This high fiber content results in strong and durable boards, offering a sustainable, eco-friendly, and GreenPro certified alternative to plywood and MDF. Indowud NFC boards, available in different densities, are competitively priced with high-quality plywood and are suitable for wardrobes, kitchens, furniture, and exterior facades. Their complete resistance to termites, water, corrosion, decay, molding, and fungus, along with their ability to be thermoformed into non-standard curved elements, offers architects and designers significant flexibility for customized interior and exterior applications. #CompositeMaterials #SustainableBuilding #HomeRenovation #InteriorDesign #ExteriorCladding #WPCProducts #SPCFlooring #ACPPanels #ZeroWoodSolutions

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

The article highlights the resurgence of Indian block printing in modern home decor, a craft with over 4,000 years of history. Initially associated with traditional design, this technique is now gaining popularity in contemporary and millennial spaces, as evidenced by new launches from brands like Seabird Society and Schumacher's Jacaranda collection. Elizabeth Dresie-Arnold, a textile expert from John Rosselli & Associates, attributes this renewed interest to the unique, one-of-a-kind results achieved through block printing. She explains that block prints often feature bolder designs and a distinct ink texture, setting them apart from modern manufacturing techniques. Dresie-Arnold emphasizes that Indian block printing is a generational craft, with artisans passing down their skills and leaving a legacy with each hand-carved block. This aspect of worldly connection and heritage makes the technique particularly appealing in times when travel might be limited. The article encourages mixing and matching block-printed items with existing decor to create eclectic and personalized spaces. It suggests that these versatile patterns can elevate various settings, from everyday home styling to special occasions like Friendsgiving. The piece then showcases a curated selection of home decor items featuring Indian block prints, categorized into cushions, blankets, and table linens. For cushions, options include the Dot Cross Block Print Pillow, Printed Cushion Cover, Juby Umber Decorative Pillow, Amaya Reversible Pillow Cover, and Vienna Mustard Baby Pillow, ranging in price from $33 to $175. The blankets section features items like the Shark Tooth Portable Blanket ($149), Artichoke Quilt ($378), Tresham Throw ($225), Jemina Duvet Cover ($178), Woodgrain Bed Throw With Fringe ($266), and Navy And Creme Hash Stripe Quilt ($495). In the table linens category, the article presents the Jewel Blossom Tablecloth ($148), Pandora Tablecloth ($65), Block Print Coaster Set ($15), Pink Flower Napkin ($20), Scalloped Block Printed Napkin ($8), and Chevron Tablecloth ($130). These product recommendations serve to illustrate the diverse applications and aesthetic appeal of block-printed textiles across different areas of the home, promoting the trend of integrating this ancient craft into modern living spaces for a layered and unique look. #IndianBlockPrinting #HomeDecorTrends #TextileDesign #PatternMixing #HandmadeCrafts #InteriorDesign #GlobalInspiredDecor #TableLinens #CushionsAndBlankets

MycoWorks has developed Reishi™, a biomaterial crafted from mycelium, which is the root-like structure of fungi. This innovative material serves as a luxurious and sustainable alternative to animal leather. The company recently showcased a collection made from Reishi™ at the Labò Cultural Project in Milan, presenting functional pieces that demonstrate the material's malleability, durability, and longevity. The collection features designs by Studio TOOJ and Fanny Perrier, highlighting Reishi™'s organic texture, which subtly reveals its growth patterns. Studio TOOJ’s DUK x Reishi™ collection includes a side table, pedestal, and corner table. These pieces exhibit the material draped gracefully over solid wood bases, creating idealized folds that flow softly to the floor. The dramatic lighting used in the display accentuates the smooth surfaces and natural-looking drapes, emphasizing Reishi™’s ability to mimic the aesthetic of traditional leather while offering a distinctive organic quality. The designs aim to integrate the natural beauty and characteristics of mycelium into contemporary furniture forms. Fanny Perrier contributed the Mycelium Paravent, a six-panel folding screen inspired by neo-classical and 1930s ornamental screens, such as those by designer Jean-Michel Frank. This paravent utilizes Reishi™ to adorn each recessed panel, providing a textured appearance that replaces traditional leather or parchment coverings. The choice of Reishi™ for such a historically rich design underscores its versatility and aesthetic potential in luxury furnishings, demonstrating its suitability for high-end applications. Reishi™ distinguishes itself from other leather alternatives by being a naturally occurring, fast-growing, and sustainable material that offers the versatility and softness of animal leather without the ethical concerns associated with animal products. This development marks a significant step forward for industries historically resistant to change, like the leather industry. The material’s properties and production process offer a promising and inspirational precedent for future material innovation. The foundation of MycoWorks lies in the biotechniques developed by Philip Ross, who sought to steer material science towards a more holistic direction. Ross began his journey by studying mycology in upstate New York forests and later applied his understanding of reishi mushrooms, initially for medicinal purposes during the HIV crisis in San Francisco. He observed the extraordinary growth patterns of reishi, which varied based on humidity, temperature, and environment. This led him to coin the term 'mycotecture'—the creation of structures and forms from mushrooms. Ross collaborated with artist and writer Sophia Wang to realize MycoWorks, transforming it into a leading research and development entity within a decade. Wang emphasizes the importance of continuous reinvestment in one's core motivations and being authentic about one's role in the project, reflecting on the journey and evolution of MycoWorks in driving industry-wide change. The integration of Reishi™ into furniture and decorative items by designers like Studio TOOJ and Fanny Perrier showcases its potential to revolutionize the home furnishings and interior design sectors. Its unique combination of aesthetic appeal, tactile quality, and sustainable origin positions it as a significant material for future design applications, providing a viable and luxurious alternative to conventional materials while addressing environmental and ethical considerations. #MycoWorks #Reishi #Mycelium #Biomaterial #LeatherAlternative #SustainableDesign #LuxuryMaterials #InteriorDesign #FungusInnovation

The article introduces 3D stencilling, a DIY trend gaining popularity on platforms like Instagram and TikTok, offering an upgraded version of traditional wall stencilling. This technique transforms flat walls into eye-catching, sculptural designs, adding depth, dimension, and texture to a space. Content creators, such as Kate Hewitt from @our_bears_home, have championed this method, using polyfilla and stencils to create embossed floral patterns, particularly in entrance areas to add a unique touch. This DIY project is highlighted as easy to execute and budget-friendly, requiring only three affordable items: stencils, plaster/filler (like Polyfilla), and a paint/wallpaper scraper. These materials are generally inexpensive, often costing under £6 each, and some may already be available at home. The accessibility and affordability of these tools contribute significantly to the trend's growing popularity among DIY enthusiasts of all skill levels. According to Gill Baker, an interiors expert at B&Q, 3D stencilling is a fun, customizable, and low-damage DIY solution. It allows individuals to transform plain walls into artistic designs that appear expensive, aligning with the importance of texture in interior design, a principle supported by experts like Kelly Hoppen. The method is versatile and suitable for various rooms, including living rooms and bedrooms, offering a timeless design feature that enhances a room's aesthetic appeal. The process begins with wall preparation, emphasizing the need for clean and smooth surfaces, with suggestions to sand down any rough spots. The next step involves selecting a stencil design, with floral and botanical patterns being common choices. Once a design is chosen and positioned on the wall, plaster or filler is evenly applied across the stencil using a scraper or putty knife. After application, the stencil is carefully removed while the paste is still wet, revealing the 3D design. This process is repeated across the desired wall areas. The article also notes that multiple layers of filler can be applied to achieve a more prominent 3D effect. Once the 3D stencils are dry, they can be left as is for a sculptural and minimalist look, or they can be painted to match or contrast with the room's decor. A significant advantage of this technique is its reversibility; if the design becomes outdated or disliked, it can be easily sanded down. This combination of ease, affordability, and stylish results makes 3D stencilling a widely endorsed social media trend for home decoration. #3DStencilling #DIYHomeDecor #InteriorDesignTrends #BudgetDecorating #WallArt #TextureInInteriors #HomeImprovement #CraftProjects #InstagramDIY

Extra&ordinary; Design is a London-based studio founded by Hyunhee Hwang, specializing in creating design-led products that elevate everyday spaces. Hwang's extensive experience in the design industry in South Korea and England, spanning over a decade, has shaped her distinctive aesthetic. This aesthetic is characterized by a blend of playful colors, sculptural forms, and the innovative use of jesmonite, a versatile composite material known for its tactile qualities and ability to mimic natural stone. The studio's latest collection, named Scala, draws inspiration from the grandeur of Roman marble architecture, specifically focusing on the visual elements of marble block stairs and columns. The Scala collection encompasses a range of home objects, including vases, candle holders, incense holders, and decorative trays. Each item within this collection is individually cast and meticulously handmade, resulting in unique marble-like characteristics and finishes. This artisanal approach ensures that no two pieces are exactly alike, adding to their individual charm and exclusivity. The use of jesmonite allows for the replication of marble's luxurious appearance while offering a more sustainable and lightweight alternative. Beyond the Scala collection, Extra&ordinary; Design also features pieces from its Jumony collection. This collection includes accessory trays and wall-mounted planters, which are distinguished by their ruffled edges. These delicate, fabric-inspired details are a direct nod to traditional Korean garments and accessories, reflecting Hwang's cultural heritage and her ability to integrate diverse influences into contemporary design. The Jumony collection's design elements evoke a sense of softness and movement, contrasting with the more structured forms of the Scala collection, yet maintaining the studio's overarching commitment to unique and visually engaging objects. Extra&ordinary; Design's philosophy centers on transforming mundane household items into pieces of art that contribute to the overall aesthetic and atmosphere of a home. By focusing on unexpected forms, vibrant colors, and innovative materials like jesmonite, the studio aims to create objects that are not only functional but also serve as focal points in a space. This approach challenges the conventional understanding of home furnishings, encouraging consumers to view everyday objects as opportunities for artistic expression and personal style. The studio’s dedication to craftsmanship and thoughtful design is evident in every piece, making each a conversation starter and a testament to the beauty that can be found in the reimagining of the ordinary. #ExtraordinaryDesign #HomeDecor #Jesmonite #SculpturalDesign #InteriorDesign #HandmadeObjects #ScalaCollection #JumonyCollection #HyunheeHwang

The article explores the resurgence of animal-themed furniture, specifically side tables with animal feet, noting a historical precedent in the Victorian Era. During that period, "Animal Furniture" was a popular concept, featuring items made from or designed to resemble real animal parts, such as liquor stands from elephant feet or chairs upholstered with tiger skin and paws. The current trend, however, moves away from the literal and often macabre use of animal parts towards more whimsical and stylized representations. This contemporary revival is attributed, in part, to designers like the Haas Brothers, who have introduced modern interpretations of animal-inspired furnishings. The piece highlights several examples of these modern animal-footed tables, offering a range of styles and price points. One entry is the Birdy Side Table, a copper piece with sweetly ribbed legs and cartoonish, unrealistic bird feet, priced at $79. It is described as an accessible and charming starter piece for those interested in the trend. Another option is the Flamingo End Table by Organic Modernism, which retails for $620 and features a single claw-like leg, offering a more elegant interpretation. For a more distinctive and artisanal touch, the Stray Dog Designs Chicken Leg Inspired End Table is presented. Handcrafted in Mexico from paper-mache, this table is available in 12 vibrant colors and boasts satisfyingly realistic, leathery, and jointed chicken feet with sharp-looking nails, priced at $850. The Matthew Williamson Pink Tray Table offers a luxurious take on the flamingo theme for $4,223, featuring a lacquered, Palm Beach-pink tray supported by three sturdy brass legs and perfectly splayed, webbed feet. Other notable items include the Gallop White Stool from CB2 for $399, which combines aluminum legs, an ivory-fabric-wrapped seat, and elegant equine-shaped legs to deliver "sophisticated whimsy." A more understated option is the Hoof Legged Accent Table from Z Gallerie, priced at $150, featuring a modern white lacquered design with three shiny hooves. For a bold statement, the Pig Table By Front for Moooi, priced at $2,773, is a large, five-foot-wide, three-foot-tall jet-black table complete with a curled tail, upturned snout, and realistic fur and beauty spots. Finally, the article suggests a DIY approach with Small Size Brass Claw Foot Toe Caps, available for $12, allowing individuals to add a touch of animal whimsy to existing furniture. The article concludes by emphasizing that while animal furniture has a historical presence, the modern iteration is characterized by faux and less anatomically literal designs, making it a charming and occasionally off-putting trend for home decor. #TheStrategist #TryTheTrend #HomeDecor #Furniture #SideTables #AnimalFurniture #InteriorDesign #WhimsicalDecor

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

The article discusses the emerging trend of colored quartzite countertops as a departure from the long-standing popularity of all-white kitchens and marble. As color trends in home decor shift towards darker, more moody shades, countertops are following suit, with colored quartzite offering a bold and luxurious alternative. This natural stone, described as resembling agate crystal, is presented as a statement-making choice for kitchens, dining rooms, and bathrooms. Several factors contribute to the rise of this trend. Firstly, there's a growing interest in quartzite in general due to its natural stone aesthetic combined with low maintenance requirements, similar to man-made quartz. Nancy Epstein, founder and president of Artistic Tile, highlights that quartzite is a quartz-rich sandstone that undergoes recrystallization through heat, pressure, and chemical reactions, making it highly scratch and heat-resistant. This inherent durability appeals to homeowners seeking practical yet elegant solutions. Secondly, the desire for more durable, yet still chic, alternatives to marble has led to a broader availability of options. The article suggests that the ubiquity of white kitchens eventually led to a desire for change, prompting homeowners to explore colorful cabinets and, consequently, reconsider their countertop choices. The shift away from conventional white and vein-free surfaces indicates a move towards more personalized and expressive interiors. Epstein further explains that with people spending more time at home, the deep colors and engaging appearance of natural materials like quartzite can enrich living spaces and provide a sense of escape. For those who do not align with the 'cottagecore' aesthetic but still want their home to feel like a retreat, a vibrant quartzite, potentially paired with dark-hued cabinets or used as a striking dining room table, offers a compelling option. Colored quartzite is available in a wide spectrum of colors, including ocean-inspired blues such as Azul Bochira, vibrant emeralds reminiscent of 'Wizard of Oz,' and intricate combinations of orange, green, and gray. Its versatility extends beyond traditional kitchen and dining room applications; it can be used for bathroom walls, as a backsplash, or even for outdoor flooring. Epstein herself has quartzite floors in her pergola, attesting to its flawless performance and durability even in outdoor environments. She emphasizes its suitability for adding color to high-traffic areas due to its robust nature. The article concludes by suggesting that 2021 might be the year for homeowners to embrace bolder choices in home renovation, moving away from predictable designs and opting for materials that offer both visual impact and long-lasting quality. #HomeDecor #CountertopTrends #Quartzite #InteriorDesign #KitchenRenovation #NaturalStone #DesignTrends #HomeRenovation