Magazine Archives Spotlight Why Timeless Design Is Sustainable Design

The article explores the concept of timelessness in design, challenging the often-overused descriptor and advocating for a focus on longevity, circularity, and adaptability in design processes. It begins by questioning the premature claims of timelessness made by designers, suggesting that true timelessness is earned over time, rather than declared. The piece highlights the subjectivity inherent in defining timelessness, arguing that it's difficult to establish universal principles for "good design" that transcend trends, technology, or personal taste. The author points out that terms like "iconic," "sustainable," "classic," and "authentic" are frequently employed with similar lack of critical examination. Despite the critique of the term itself, the article emphasizes the crucial importance of designing for the long term. It proposes that instead of focusing on "timelessness" as a product attribute, the industry should adopt terms such as circular, renewable, repairable, dismountable, adaptable, and regenerative to describe the design process and system. This shift in vocabulary aims to ground the concept of enduring design in tangible, responsible practices. The article suggests that acknowledging the extractive nature of design and striving for endurance becomes the primary viable claim of responsibility for designers and manufacturers. Throughout the discussion, the article showcases a curated selection of furniture, lighting, objects, and materials that embody a commitment to longevity. These examples include both historical pieces, some reissued with modern relevance, and contemporary designs that integrate principles of durability and adaptability. Specific items mentioned include the ‘Martini’ table by Eddie Olin, the ‘Drinking Set No. 238 Patrician III’ wine glass by Josef Hoffmann, the ‘Argento Liquido’ daybed by Supersedia, the ‘Tetrami’ console and ‘Topan’ lamp by Verner Panton, the ‘Juicy Salif’ squeezer by Philippe Starck, candy dishes by Oswald Haerdtl, the ‘Tua’ pitcher by Mario Botta, and the Beogram 4000c turntable by Bang & Olufsen. Also featured are a sculpture by Eva and Peter Moritz, the ‘Superwire’ floor lamp by Formafantasma, the ‘Alpaca Natural’ rug, and fabrics like ‘Déjà Vu Jamais’ by Dedar and ‘Ancient Writing 1936’ by Anni Albers. The article continues to present diverse pieces such as the ‘Réaction Poétique’ tray by Jaime Hayon, the ‘Nara’ console by Jean-Marie Massaud, the ‘Pan’ daybed and armchair by Gordon Guillaumier, the ‘Porthole’ mirror by Willo Perron, and the ‘Lofty’ chair by Piergiorgio Cazzaniga. Other notable items include the ‘Etruscan’ pitcher by Mentze Ottenstein, the ‘Toio’ floor lamp by Achille and Pier Giacomo Castiglioni, the ‘Grand’ rug by Nordic Knots, and ‘Feral’ fabric by Formafantasma. Further examples highlight the ‘Brutalist’ speaker by Transparent, the ‘Nymphenburg’ coat stand by Otto Blümel, a media unit by Fritz Haller for USM, ‘Perspectives’ candleholders by Mathias Kiss, the ‘Pigreco’ chair by Tobia Scarpa, ‘Table No. II’ by Devin Wilde, and custom tiles by Palet. The ‘CH07 Shell’ chair by Hans J Wegner, ‘Sculptural House Numbers’ by Reinoud Oudshoorn, the ‘Opus’ floor lamp by Walter Manici, the ‘Dylan Small’ sofa by Rodolfo Dordoni, the ‘Butterfly’ stool by Sori Yanagi, the ‘Rio’ coffee table by Charlotte Perriand, ‘Dinner Service’ cups and plate by Donald Judd, ‘Random Solo’ pendants by Chia-Ying Lee, the ‘C’ chair by ERM Studio, the ‘Saarinen’ table by Eero Saarinen, and the ‘123 chair by Michael Anastassiades are also included. Finally, the ‘Infilled’ chair by Soft Baroque, the ‘Floor Mobile Chandelier’ by Michael Anastassiades, the ‘Seconda’ chair by Mario Botta, and the ‘Nocturne Shell’ room divider by Middernacht & Alexander are presented, all demonstrating various facets of enduring design—whether through innovation, reissuing, guaranteed repairability, or inherent adaptability. The article concludes by asserting that these chosen pieces, old or new, are expected to withstand the test of time, with time itself ultimately serving as the final arbiter. #TimelessDesign #LongevityInDesign #SustainableDesign #ProductDesign #InteriorDesign #DesignPhilosophy #FurnitureDesign #LightingDesign #MaterialSelection

The article explores the perennial question of whether to follow interior design trends, gathering insights from various interior designers on how to approach trends in a way that results in a stylish yet timeless home. The author highlights that the year's trends have emphasized an anti-trend sentiment, with transitional styles dominating over fleeting micro-trends. This shift prompts a deeper discussion on the longevity and impact of trend adoption. Catherine Ebert, an interior designer, suggests that trends are acceptable in moderation and only when they align with personal preferences and the existing home aesthetic. She advocates for integrating new trends subtly, using them to complement existing furnishings rather than replacing everything. Ebert provides an example of combining organic shapes with geometric elements, demonstrating how contrast can create a more engaging and interesting space. Kati Curtis, another designer, echoes this sentiment, stating her preference for creating spaces that blend various styles to achieve a unique and timeless aesthetic. She emphasizes curating environments that possess character and history, always considering the home's architectural style to avoid the transient nature of trends. Curtis also acknowledges that exposure to design and art shows inevitably influences her, but she reinterprets these influences to maintain a cohesive and enduring design. The inherent downside of blindly following interior design trends is the risk of creating a home that quickly becomes outdated, necessitating frequent overhauls. To circumvent this, the article promotes adopting a transitional style, which involves harmonizing diverse styles, eras, and trends. This approach prevents a home from being overly committed to a single, potentially short-lived look. Jennifer Davis, a designer, emphasizes that homes should reflect the inhabitants' personalities and stories, rather than merely current popular styles. She warns against the costly and unsustainable practice of constantly updating interiors to keep up with trends, instead advocating for investments in well-crafted, timeless pieces that are both eco-friendly and contribute to a beautiful, lasting home. In considering how to thoughtfully incorporate trends, the primary recommendation is to select only those that genuinely resonate and integrate seamlessly with the home's existing aesthetic. It is advised against undertaking extensive and expensive renovations solely to align with a current trend. For those drawn to potentially ephemeral trends, like the author's fondness for wavy pieces, the advice is to introduce them through small, inexpensive items that can be easily replaced. Bethany Adams, a designer, suggests experimenting with throw pillows or decorative vases, which allow for personal style exploration without significant financial commitment. She cautions against investing heavily in trendy furniture or architectural modifications unless thoroughly considered and potentially with professional guidance, as today's trend can quickly become tomorrow's faux pas. Jennifer Walter offers a concluding piece of advice: if there is any hesitation regarding a trend, it is best to wait. If a trend demonstrates longevity, it will likely become accessible at more affordable price points in mainstream stores. When uncertainty persists, limiting trend adoption to smaller, easily changeable accessories like pillows or candlesticks is prudent. Major, permanent alterations such as tiling floors or painting kitchen cabinetry should be approached with caution. However, if working with an interior designer, trusting their expertise and understanding of personal comfort zones is encouraged. #InteriorDesign #HomeDecor #DesignTrends #TimelessDesign #TransitionalStyle #HomeStyling #DesignPhilosophy #SustainableDesign

The article highlights nine timeless home design choices that interior designers recommend for enduring style and appeal. Many decorating choices can quickly become outdated, but certain fundamental elements and principles consistently maintain their relevance. Stephanie Sabbe, an interior designer, emphasizes the importance of good interior architecture, stating that strong 'bones' of a house allow for adaptable decor over decades, regardless of changing colors and patterns. Adrianne Bugg, principal designer for Pillar & Peacock, also notes that a well-planned space, which respects the house's style and the owner's personality, will never go out of fashion. The article suggests that these timeless choices are akin to classic fashion icons like Princess Diana's style, always remaining elegant. One such timeless element is natural stone countertops, including marble, quartzite, and soapstone. Amanda Reynal, an interior designer, praises their enduring beauty and durability, as well as their versatility. These natural stones, often in neutral tones, seamlessly integrate into various design aesthetics, from traditional to contemporary, making them a valuable long-term investment. Reynal explains that each slab possesses unique veining and texture, adding organic elegance, and that natural stone acquires more character as it ages. However, Leah Harmatz, founder of Field Theory Design, cautions against granite, citing its lack of interesting veining and movement compared to other natural stones. Another key aspect of timeless design is layering color and texture. Kellie Sirna, owner and principal of Studio 11 Design, stresses that a room without a mix of these elements can feel flat and uninteresting. She advises incorporating natural materials like wood, stone, and metal for a balanced, organic foundation, then adding soft textures and pops of color to infuse warmth and personality while maintaining an open and cohesive feel. This layering approach creates depth, character, and a nuanced stylistic narrative, allowing the room's aesthetic to evolve with personal additions collected over time, such as pillows, art, accessories, and books. The inclusion of a fireplace, whether real or faux, is also presented as a timeless design choice. David Kaihoi, an interior designer, believes a fireplace makes a home feel more complete, providing immediate comfort and a focal point due to humanity's historical connection to fire. For homes without a wood-burning fireplace, Kaihoi suggests installing a gas unit or a well-designed faux fireplace that looks architecturally convincing, with a realistic firebox depth and chimney breast. Nick Olsen, another interior designer, adds that a simple bolection fireplace mantel, featuring a curvy molding profile in wood, stone, plaster, or mirror, is a classic alternative to overly ornate or historically inaccurate modern mantels. Furthermore, investing in well-made, well-maintained furniture is crucial for timelessness. Harmatz states that quality furniture, regardless of its era, will endure. She emphasizes that antique and vintage pieces can be refreshed and integrated into contemporary spaces through simple updates such as new upholstery, oiling wood, sealing stones or ceramics, and polishing metal. Sirna notes that these enhancements not only refresh the items but also preserve their inherent beauty. The article also suggests mindful furniture mapping, which involves thoughtful arrangement to ensure visual balance, functionality, cohesion, and comfort, and the use of classic furniture silhouettes, particularly those with elegant lines like Louis XV and Louis XVI styles, which can complement both contemporary and traditional rooms.

The concept of timeless interior design is increasingly appealing to homeowners who wish to make enduring choices for their living spaces. Interior designer Karen Akers notes that clients often express a desire to make decisions once and live with them indefinitely, driven by the overwhelming nature of frequent aesthetic changes and the significant financial investment involved in home renovations. Unlike fashion trends, which can be easily updated, altering home interiors is a time-consuming and expensive undertaking. This sentiment underscores a common aspiration among individuals to create spaces that transcend fleeting fads. Alexandra Donohoe Church, founder of Decus Interiors, emphasizes that the pursuit of timeless design is deeply rooted in practicality, particularly concerning the longevity and investment value of a home. In regions like Sydney, where homes are often primary investments, owners aim for designs that will resonate broadly and maximize resale value. This pragmatic approach is coupled with a desire to avoid aesthetic mistakes that might quickly date a property, similar to how past personal style choices can appear dated in retrospect. Clients seek assurance that their design decisions will remain relevant and appealing over many years. Central to discussions of timeless design is the selection of a neutral color palette. However, the definition of "neutral" itself evolves over time. Andrea Lucena Orr, a color expert at Dulux, points out the shift from cooler "greige" tones prevalent in the past 15 years to a newer generation of warmer neutrals. Despite these shifts, classic white shades like Dulux Natural White and Snowy Mountains Half continue to be popular choices due to their versatility and ability to complement both cool and warm palettes. These whites offer a foundational classicism that appeals to those undertaking whole-house renovations, providing a sense of stability amidst changing trends. Kate Nixon, another interior designer, highlights the importance of natural materials in achieving timelessness. Drawing inspiration from historical buildings, she notes that spaces that have endured often feature natural elements such as timber and stone. These materials not only possess inherent beauty but also develop an appealing patina over time, resisting the transient nature of synthetic or trend-driven alternatives. Donohoe Church concurs, advocating for the use of honest, true materials as a foundational base, allowing spaces to unfold gracefully and providing a solid framework for a timeless aesthetic. While a classic base is essential, timeless design does not equate to monotony. The key lies in layering depth and personality through details. Even within a neutral palette, texture plays a crucial role. Elements like floor coverings, fabrics, and window treatments can introduce luxury, comfort, and intricate detail. Donohoe Church explains this concept by likening interior design to writing: just as a sentence needs punctuation to be compelling, quiet spaces benefit from strategic dramatic accents. Trying to force disparate elements together without a cohesive base often results in a flat, uninspired outcome. Instead, starting with a foundation of beautifully applied quiet materials allows for the effective integration of more expressive details. Nixon suggests that artwork and accessories offer a flexible and cost-effective way to refresh rooms and infuse personality without compromising the core timeless design. These elements can be changed frequently, allowing homeowners to adapt their spaces to evolving tastes or seasons without undertaking major structural or material alterations. Smaller details like paint colors, cushions, and fabrics are also relatively inexpensive to update compared to more permanent fixtures like flooring, benchtops, or tiles. Ultimately, achieving a truly timeless interior is a subjective endeavor. Donohoe Church cautions against promising clients that they will love their home's design in 15 years, acknowledging that trends continually shift. While a strong foundational design increases the likelihood of long-term satisfaction, predicting future tastes with absolute certainty remains a challenge. #InteriorDesign #TimelessStyle #HomeRenovation #NeutralPalette #NaturalMaterials #DesignLongevity #PropertyInvestment #HomeDecoration

The increasing scrutiny on environmental impact has led designers to innovate, creating solutions that combine creativity with sustainability. This movement is spearheaded by both established and emerging talents who are developing projects ranging from microalgae-powered items to furniture made from paper pulp and fully compostable seating, all while maintaining high aesthetic standards. Fango, founded by Colombian designer Francisco Jaramillo, addresses deforestation by utilizing Yaré, a fast-growing natural fiber, in his 'Ibuju' furniture collection. This project collaborates with local weavers in Colombia, highlighting the relationship between artisans, sustainable materials, and contemporary design through pieces that respect indigenous traditions and environmental needs. Prowl Studio, comprising Baillie Mishler and Lauryn Menard, introduced the 'Peel' chair at Milan Design Week 2023. Developed with M4 Factory, this chair is made from a hemp-based bioplastic derived from industrial hemp waste and biopolymers. The chair's frame composts within six months in an industrial facility, while its hemp foam cushion, upholstered in hemp bio-leather, decomposes as quickly as an orange peel and can be composted at home. Creative director Menard emphasizes a design philosophy that considers the entire lifecycle of materials and products. German designer Stefan Diez, inspired by Japanese bamboo furniture, partnered with Norwegian aluminum manufacturer Hydro to create the 'Boa' table for Hay. This table uses 75% recycled, post-consumer aluminum scrap, employing a unique folding technique reminiscent of traditional bamboo artistry. Its lightweight, flat-packed design and production facility powered by hydropower significantly reduce its carbon footprint. Buyers can customize the tabletop with various finishes or source it locally to fit their style. Alted Materials, founded by Berta Julià Sala, aims to disrupt the building industry by offering architectural products based on circular economy principles. Their 'Alted H01' collection features decorative wall panels made from 'Honext,' a material derived from cellulose waste from the paper industry. These waste-based, plant-based, non-toxic, and recyclable panels come with a take-back scheme, ensuring materials are recycled back into the production loop at the end of their life. Patricia Urquiola, Cassina's art director, designed the 'Moncloud' sofa with a strong focus on sustainability. The sofa features a metal frame wrapped in recycled PET wadding, and the use of polyurethane is minimized by incorporating Circularrefoam, a foam made with recycled polyols. The design allows for complete disassembly, making individual material recycling and recovery easier. Federico Peri collaborated with Bentley to create furniture using Paper Factor, an innovative paper-pulp surface material developed by Riccardo Cavaciocchi. This material, crafted by hand, offers a luxury aesthetic similar to marble, with organic coloring and intricate veining, but with significantly reduced waste and water usage during production. This initiative is part of Bentley's broader sustainability efforts, emphasizing the durability of the material when treated. Chinese designer Fengfan Yang's 'Light on Lives' project explores plant-powered electricity generation using microalgae contained in the lamp's base. While producing minimal power, it is sufficient for a night light, requiring regular water changes. Yang aims to integrate existing technology with everyday products to demonstrate the potential of plant power, highlighting the importance of interdisciplinary collaboration for future applications. Yuma Kano, a Japanese designer, created 'ForestBank' after being inspired by the Hida region's forgotten forest elements. This material combines organic waste such as small branches, leaves, and nuts with resin, showcasing the beauty and unique characteristics of these natural resources. Each design is distinct due to the organic variations and can be applied to various forms like tabletops. Estudio Rain, founded by Mariana Ramos and Ricardo Innecco, developed the 'Rícino' lighting collection from a plant-based castor oil resin. This project, which began in 2018, offers translucent amber fixtures as an ecological alternative to petroleum-based resins. The material is cold-pressed and manufactured without water consumption, indicating a significant step towards sustainable material innovation in design. Honoka Design Lab, a collective of Japanese designers, presented the 'Tatami Refab Project,' a furniture series made from discarded Tatami mats combined with bioplastic to form a green resin-like substance. By transforming Igusa grass mats into striking furniture and lighting with the help of 3D-printing experts ExtraBold Inc, the project seeks to reintroduce the beauty of traditional Tatami to younger Japanese homeowners influenced by Western design trends. #SustainableDesign #EcoMaterials #CircularEconomy #BioplasticFurniture #RecycledMaterials #PlantPoweredDesign #TraditionalCraftsmanship #InnovationInDesign #GreenArchitecture

The article explores the architectural concept of material authenticity in interior design, advocating for an approach that prioritizes the inherent qualities and performance of materials over superficial surface treatments. It begins by establishing materiality as a central concern in design, influencing aesthetics, functionality, and longevity, and highlights how the discourse has shifted from structural substance to decorative layering. The author posits that this shift has led to a focus on "decorating" spaces through the application of various finishes, often concealing the base building fabric. The discussion then delves into historical precedents, referencing classical architecture such as Gothic churches, the Parthenon, and Japanese temples, where materials like stone, marble, and timber served both structural and aesthetic purposes. These examples illustrate a coherent and honest architectural expression, where beauty and durability were achieved simultaneously. The article extends this historical perspective to the modern era, citing architects like Mies van der Rohe, who celebrated the inherent elegance of materials like marble, glass, and steel, and the Brutalism movement's embrace of exposed concrete as both structure and a philosophical stance. These traditions underscore material honesty as a fundamental principle rather than a mere style. Conversely, the article critiques contemporary interior architecture's reliance on synthetic finishes and decorative layering. It points out the widespread use of paint, wall furring systems with synthetic boards, and drop ceilings. The advancements in product design, manufacturing, and digital fabrication have enabled highly realistic imitations of natural materials, such as laminates mimicking wood grains and foam panels replicating stone textures. While these solutions might offer benefits in terms of budget, lead times, and construction simplicity, the article argues they come with hidden environmental costs, including the production of chemical wastes and disposable materials, questioning whether these practices truly constitute architecture or merely surface application. The author advocates for the authentic use of materials, emphasizing that such an approach demands a higher level of precision and design integrity, as there is no room for "covering up" mistakes. This rigor, celebrated during the modernist period, leads to more durable spaces that age gracefully and develop character. Crucially, authentic materials often eliminate the need for additional processes and products like wallpaper, paint, adhesives, or veneers, thereby significantly reducing waste. It highlights that the absence of decorative claddings makes spaces more flexible and reusable, as future occupants are not burdened with stripping away previous finishes, which minimizes demolition and material disposal. Examples of contemporary projects are provided to illustrate material authenticity in practice. The Impact Hub Berlin Office Interiors by LXSY Architekten showcases how exposed plywood can become a central visual and tactile element. Similarly, Apartment V by NAKI Atelier integrates plywood with other refined materials without relying on surface treatments, creating a sophisticated interior. OURIO Coffee by NDB DESIGN further exemplifies this approach by using timber and steel in their natural states to create an elegant atmosphere, where exposed ductwork is thoughtfully integrated. The article concludes by suggesting that while decorative materials cannot be entirely eliminated, minimizing reliance on additive finishes and celebrating the inherent character of structural materials leads to a more sustainable design practice. This shift promotes spatial richness through thoughtful planning, detailing, and tectonics, reasserting the value of the designer's expertise and crafting interiors with lasting quality and depth. #InteriorDesign #MaterialAuthenticity #SustainableDesign #ArchitecturalMaterials #DesignPrinciples #Modernism #Brutalism #WasteReduction #ArchitecturalHistory

This article highlights the collaboration between interior designer Elizabeth Riggs of Elizabeth Ashley Interiors, builder Steve Rogai of Steven Anthony Luxury Homes, and architect Monroe Design Group to create a modern transitional lakefront home for Greg and Nicole “Nikki” Zolkos. The Zolkos, a couple with a blended family of five teenage daughters, sought a serene retreat from their busy lives. Their new 7,500-square-foot, five-bedroom, five-bathroom home, situated on a half-acre lakefront property on Lake Carroll, was designed to be warm and inviting for their large family and frequent guests. Riggs adopted a modern transitional style, building upon a timeless, traditional foundation. A key design element is the extensive use of custom millwork, including detailed trim and molding, which adds texture, depth, and an enduring sense of elegance throughout the home. The color palette primarily consists of earthy neutrals, complemented by strategic accents of black and moody blues. This scheme was chosen to harmonize with the natural beauty of the surrounding lake and backyard, which are visible from various parts of the house, including the living room, primary bedroom, pool lounge, and gym. To infuse the Zolkos’ personal style and modern preferences, Riggs incorporated contemporary elements through distinctive lighting fixtures, bespoke art pieces, and carefully selected decor. For instance, the dining room features a striking Arteriors chandelier, serving as a focal point. Given the presence of five children, practical considerations were also integrated, such as investing in high-quality performance fabric for the oversized sectional in the living room. Other special pieces for entertaining include a dining table that accommodates twelve and a coffee table with four pull-out stools for additional seating. Riggs emphasized visual cohesion and seamless transitions between rooms to create a harmonious environment. Her approach is informed by a background in psychology, which she utilizes to understand and align with her clients' design preferences. The article mentions the personal connection between Riggs and Nicole Zolkos, as Nicole was Riggs's first client, making the design of their 'forever home' a particularly meaningful project for the designer. The exterior features a modern minimalist backyard, designed by Hollywood Pools, with a pool overlooking Lake Carroll, providing an open and airy space for family time and entertaining. This comprehensive design strategy aimed to balance timeless elegance with modern functionality and personal touches, resulting in a unique and welcoming family residence.

The article explores five enduring interior design styles that top designers consistently favor, emphasizing timelessness over fleeting trends. These styles, while distinct, share a common thread of blending classic elements with modern sensibilities, prioritizing comfort, functionality, and a curated aesthetic. Brad Ramsey advocates for Contemporary design, distinguishing it from 'modern' by its intricate layering and ability to incorporate trending elements into a clean, neutral palette. This style is characterized by clean lines, natural materials, neutral colors, mixed textures, and simple, functional pieces accented by curated statement items. Lauren Lerner highlights Transitional design, which seamlessly combines traditional and contemporary elements. This approach results in balanced, inviting spaces with a neutral color palette of whites, taupes, and grays, serving as a serene backdrop for furniture and decor. Transitional design emphasizes comfort and functionality while allowing for unique, refined details and adaptability to changing accent pieces. Mikel Welch champions Modern Rustic, a style that merges vintage charm with modern sensibilities. It features unique vintage pieces, weathered wood, aged metal, and rough-hewn stone, set against a simple backdrop of earthy whites, blacks, beiges, greens, and rust. This creates a warm, inviting home that remains current regardless of passing trends. Sarah Barnard emphasizes Nature-inspired, biophilic design, which integrates natural elements like greenery, wood, and outdoor-echoing colors. This philosophy aims to create sustainable spaces that support well-being by connecting inhabitants with nature. Minimalist settings and ample natural light enhance the inherent beauty of natural materials and neutral, nature-inspired color palettes. Christina Richardson expresses a fondness for Coastal or Cape Cod style, particularly for its fresh, nautical feel and architectural symmetry. This style favors muted pastels, blues, and whites, with occasional yellow or green accents, and incorporates abundant texture to create a relaxed yet luxurious ambiance that can be replicated in any home, not just those by the sea. These five styles collectively demonstrate that truly cherished aesthetics are not short-lived trends but rather enduring looks that evolve subtly over time while retaining their iconic character and appeal. #InteriorDesign #TimelessStyle #HomeDecor #ContemporaryDesign #TransitionalDesign #ModernRustic #BiophilicDesign #CoastalStyle #CapeCod

This article explores interior design "microtrends" that design experts predict will have lasting appeal beyond their initial surge in popularity. It addresses the common concern of investing in fleeting fads and aims to guide homeowners in making timeless decor choices. The piece highlights ten specific trends that designers believe will endure through 2025 and beyond, moving from temporary phenomena to established design principles. First on the list is curved sofas. While a revival of a 70s classic, these sculptural and convex furniture pieces are praised for softening spaces and fostering a more convivial atmosphere. Designers emphasize their versatility as floating statement pieces rather than being confined to walls, suggesting an enduring shift in spatial arrangement. Monochrome color palettes are also presented as a timeless approach, offering visual strength and emphasizing depth. This trend, often paired with color drenching, encourages a cohesive and harmonious aesthetic where every color decision is intentional. Skirted furniture, another microtrend, is re-emerging with a contemporary twist. Designers appreciate the beautifully patterned pleats on ottomans, chairs, and sofas for creating a homey, cottage-core feel without the "frumpy" connotation of past styles. The modern pleated skirts are seen as a refined nod to traditional aesthetics that will continue to gain traction. Color drenching, the technique of saturating an entire room in a single hue, including ceilings and woodwork, is identified as a trend driven by a desire for increased character and personality in homes. Designers believe this immersive approach to color unequivocally sparks joy and will remain popular. Raw, unfinished textures, such as lime plaster and microcement, are anticipated to rise in popularity. These materials contribute to an organic, artisanal look, building on previous trends like raked plaster and stucco. Their sustainability and eco-friendliness, combined with their unique patinas and textures, make them appealing for various surfaces, from walls and fireplaces to ceilings and even tile floors. Mural wall coverings, moving beyond simple accent walls, create immersive scenes with statement motifs, particularly verdant themes with lush greenery and floral patterns. This trend is favored in communal spaces like dining rooms, providing engaging focal points that celebrate nature's calming influence. Raw wood kitchen cabinetry signals a move away from sterile, white kitchens towards warmer, more inviting spaces. The inherent timelessness of organic materials like wood, especially in kitchen islands, offers a perfect balance of tradition and modernity, complementing various materials such as marble and metallic hardware. Standout ceilings, once neglected, are now becoming a fifth wall for decorative expression. Designers report increased use of paint, wallpaper, high gloss finishes, and even exposed wood on ceilings, transforming them into focal points that create enveloped and cozy spaces. Red decor, initially popularized by the "unexpected red" trend in 2024, is evolving towards deeper, darker hues like maroon. This adaptation is seen as a more timeless approach, suitable for creating relaxing and safe ambiances, especially in smaller rooms. The article predicts a continuation of color-drenching with these rich tones. Finally, the microtrend of "lived-in" interiors emphasizes uniqueness and storytelling within a home. This trend values personalized decor and accessories that subtly and overtly reflect the inhabitants, moving away from generic, "cookie-cutter" spaces. It encourages homeowners to curate spaces that visually map their experiences and preferences. In essence, the article argues that these seemingly small trends are not fleeting fads but rather design elements with inherent longevity, capable of becoming staples in interior design for years to come. By adopting these lasting microtrends, homeowners can create chic and enduring spaces. #InteriorDesign #DecorTrends #TimelessDesign #HomeDecor #CurvedSofas #MonochromePalettes #SkirtedFurniture #ColorDrenching #RawMaterials #MuralWallcoverings #WoodenCabinetry #StatementCeilings #RedDecor #LivedInInteriors

Isola participated in Dutch Design Week 2023 in Eindhoven, Netherlands, for the fifth consecutive year, presenting two primary exhibitions under the theme “Nothing Happens if Nothing Happens.” The event, held from October 21st to 29th, showcased Isola's dedication to sustainable design, craft, and collectible designs. Gabriele Cavallaro, co-founder and CEO of Isola Design Group, highlighted the organization's strong ties with Dutch designers and local partners, emphasizing their aim to spotlight exceptionally talented designers and their pioneering approaches. DesignWanted served as a media partner for the event, featuring eight notable projects from Isola's showcase. The first exhibition, "Nothing Happens if Nothing Happens," was part of the "Something Bigger" event at the Schellens Fabriek. This 400-square-meter space hosted over 60 exhibitors from more than 24 countries, displaying approximately a hundred products. The showcase included innovative biomaterials, circular products, and collectible design pieces. Isola further demonstrated its commitment to sustainability by incorporating Polygood® material from The Good Plastic Company, which is made from 100% recycled and recyclable plastic, into its exhibition setup. The second exhibition, "Tools & Crafts," paid homage to the rich Dutch tradition of craftsmanship. This exhibition was held in collaboration with a local woodworker at Fuutlaan 12c, featuring more than 20 exhibitors and over 35 products. The focus was on a new generation of artisans who blended traditional expertise with innovative and experimental techniques to create contemporary and collectible design pieces. Among the featured projects, "Icons Re/Outfitted" by The Visionary Lab transformed iconic Vitra chairs using repurposed denim from Levi’s, addressing textile waste by upcycling furniture with materials from fashion. Designers like Nkwo Onwuka and Hannah Brabon contributed to this project, showcasing diverse techniques in creating artful chairs. "Pleated Scenery" by Kim Melody Zoutewelle presented wall lamps made from glass powders on colored and formed glass, which, when illuminated, created a shimmering, dream-like landscape effect. These lamps were crafted using artisanal techniques, ensuring each piece is unique. Giulia Toneguzzo's "Spektrum" introduced a wall shelf that interacts with daylight, utilizing colors to materialize the nature of light and enhance the atmosphere of a space as it changes throughout the day. The Makkuro vase by Iammi exemplified sustainable innovation, crafted from discarded automotive foam waste sourced from Re-Mat, an Italian startup recycling mattresses and foam. IAMMI studio also designed Isola’s exhibition layout for the event. Zeynep Boyan's "Units" featured sculptural stoneware ceramic products designed to hold multiple objects. These collectible pieces, created by hand in Montreal, combined stoneware clay with burnished aluminum and hand-sculpted ceramic knobs, blending traditional and experimental techniques to create functional art. "Compact Sun" by vanPlestik, a collaborative research project, showcased a wall lamp made from 100% recycled plastic from used CD cases. This modular design, with its 3D-printed lines, created a mesmerizing sun-like reflection. Ruben de Haas's "Egglamp" was a playful exploration of materials, featuring a lamp made from real eggshells, offering a soft and warm glow with unique imperfections. Finally, "Moiréverse" by Thanos Deenen presented objects that combined movement, color, and pattern to create a moiré effect, originally part of an interactive installation, now imagined as interior design pieces. These projects collectively highlighted the themes of sustainability, craftsmanship, and innovative design that Isola championed at Dutch Design Week 2023, demonstrating a forward-thinking approach to product creation and material usage. #DutchDesignWeek #SustainableDesign #Craftsmanship #CollectibleDesign #InnovationDesign #RecycledMaterials #InteriorDesign #LightingDesign #Upcycling

The concept of sustainable design, frequently linked to eco-friendly fashion, furniture, or architecture, lacks a universal definition, despite its recognized importance. The UK Design Council highlights that over 80% of a product's ecological impact is determined during the design phase. The term itself combines two complex concepts: 'sustainability' and 'design.' Sustainability, as defined by a 1987 UN paper, refers to meeting present needs without compromising future generations' ability to meet their own, a definition that is far from concrete. 'Design' is also a multifaceted term, used as both a noun and a verb, and often confused with art or style, sparking ongoing debates among professional designers across various specializations like architecture, fashion, and interior design, each with its unique terminology and practices. Different organizations and educators interpret sustainable design differently. For instance, the US General Services Administration defines it as interventions that reduce negative environmental impacts and improve occupant health and comfort in buildings. Similarly, the US Environmental Protection Agency focuses on green architecture. However, practitioners from different design disciplines, even within the same academic program, hold diverse views on what sustainability entails, often considering it a worldview or philosophy. A significant misconception, as pointed out by Denise DeLuca, director of the sustainable design program at the Minneapolis College of Art and Design, is using 'sustainable design' to describe improvements to inherently unsustainable products, such as designing more fuel-efficient cars or LEED-certified buildings, which, while beneficial, do not eliminate environmental impact entirely. Adding to this confusion is the vast number of eco-labels, certificates, and green stickers. While initially intended to help consumers identify responsibly made goods, this overwhelming array often leads to more bewilderment. There is no single globally accepted symbol for sustainable design, just as there is no universal definition. Historical examples like Germany's "Blue Angel" seal, launched in 1978, aimed to guide consumers toward environmentally friendly products. Over time, numerous countries, independent certification bodies, and industry associations have developed their own seals and criteria, cataloged by resources like the Ecolabel Index. The credibility of these labels varies, with some regulated by the International Organization for Standardization, while others are company-specific branding efforts. For example, Future Prosperity, a new lifestyle brand, created its own "FPXII Certified" seal, intentionally avoiding traditional green and blue aesthetics based on studies suggesting male consumers might perceive such colors as feminine. To better understand sustainable design, one must delve into specific design fields. The article categorizes these into architecture and urban design, fashion design, graphic design, interior design, and industrial design. Each category has its own scope, common terms (e.g., biomimicry, circular fashion, FSC-certified, biophilic design, cradle-to-cradle), and specific seals or certifications. Some labels, like the FSC-certified seal, are applicable across multiple fields, appearing on various products from paper to construction materials. Beyond "sustainable design," terms like "regenerative design" are gaining traction, aiming to encompass broader goals from an environmental perspective, though critics note it may not adequately address human and social aspects. Regenerative design emphasizes restoring and optimizing positive impacts rather than merely reducing negative ones, a shift from the "100% less bad" approach often associated with traditional sustainability. Advocates, such as Michael Pawlyn, argue for an urgent transition to repair damage to life support systems. Designers, with their unique skill sets, are seen as crucial in envisioning and making tangible the possibilities for a truly sustainable future, moving beyond incremental improvements to transformative solutions for the climate emergency. #SustainableDesign #EcoLabels #EnvironmentalImpact #GreenArchitecture #ConsumerGuidance #RegenerativeDesign #DesignCertification #ProductEcology

The article discusses the increasing importance of sustainable architecture in 2025, driven by climate change and social challenges. It highlights how architects are focusing on materials, construction methods, building performance, provenance, maintenance, and the social impact of their designs. The Wallpaper* Design Awards 2025 recognized works that emphasize restoration, rebalancing, and renewal, with nature, wellbeing, and sustainability being central themes. Leading architectural firms, such as Skidmore, Owings & Merrill (SOM), are developing innovative solutions like the ‘Urban Sequoia’ model for carbon-negative architecture. The article presents a curated list of 46 exemplary projects worldwide that embody sustainable principles, ranging from residential buildings to care centers and offices. These examples not only showcase aesthetic appeal but also demonstrate a commitment to environmental and social responsibility. The core principles of sustainable architecture are broken down into several key areas. Firstly, a building's entire lifecycle – past, present, and future – is considered. This includes utilizing locally sourced materials to reduce transportation-related carbon emissions and employing construction methods that minimize environmental impact, such as prefabrication and innovative, low-carbon concrete. Examples like Seratech's carbon-neutral composite cement, winner of the 2022 Obel Prize, are highlighted for their material innovation. Once constructed, buildings must support sustainable maintenance and energy efficiency throughout their operational life. This involves smart ventilation systems, adherence to Passivhaus principles, and the use of natural materials to foster user wellness by minimizing exposure to harmful substances. The Kempegowda International Airport Terminal 2, designed by SOM with interiors by Enter Projects Asia, exemplifies this approach by integrating green technologies and bamboo, reflecting Bengaluru's 'garden city' reputation. The 'afterlife' of architecture is another critical aspect, with many sustainable designs incorporating demountable and reusable components. This allows structures to be relocated, rebuilt, or have their materials recycled, extending their lifespan and reducing waste. The construction industry's significant contribution to carbon emissions makes ensuring a building's long, healthy life, or its adaptability for future retrofitting, crucial for sustainability. Apartamento Paraíso by Rúina, which transformed a fragmented space using recycled and repurposed materials, illustrates this principle. Beyond environmental considerations, the social dimension of sustainable architecture is emphasized. Buildings are designed to serve a function for their users and local communities, necessitating thoughtful design that enhances quality of life and is future-proofed for long-term efficiency. This includes blending accessibility and inclusivity into designs to cater to diverse needs, such as aging populations or those with varying abilities. Knox Bhavan's March House, a prefabricated, flood- and future-proof home, exemplifies how architectural design can integrate strong eco-credentials with functional, contemporary living in a sensitive natural environment. The article then presents a detailed list of specific projects, each with its location, designer, and a highlighted sustainability feature. These examples include the Kura Kura badminton court in Bali (bamboo architecture), 'Wood Up' in Paris (timber construction), Finlandia Hall in Helsinki (sustainable restoration), Tom Lee Park in Memphis (greening and nature restoration), Slot House in Utah (Passivhaus construction), The Magasin Électrique at Luma Arles (sustainable materials and reuse), Reference Center of Babassu Coconut Breakers in Brazil (fostering community), Kampala art centre (reclaimed and natural materials), Spruce House in London (CLT structure), Citizens House in London (affordable housing), Saltviga House in Norway (recycled material, off-cuts), Congregation Kol Emeth synagogue in Palo Alto (LEED Platinum certification), The Black and White Building in London (timber construction), Quay Quarter Tower in Sydney (high-rise retrofit), Novartis Pavilion in Basel (zero-energy media facade), The Learning Tree in London (natural materials), Karper in Brussels (urban retrofit), Ostro Passivhaus in Scotland (Passivhaus construction), The Plus in Norway (high energy efficiency), Casa Azul in Brazil (environmental approval for building in sensitive nature), Earthitects workspace in Bengaluru (natural, organic materials), Ecology Green Farm in Nigeria (building with earth), Bide cabin in Dorset (self-building and local materials), Friendship Hospital in Bangladesh (social impact), Haus on the Ridge in Kent (Passivhaus), The Arc at Green School in Bali (bamboo construction), The Wood Hotel by Elite in Sweden (timber construction), The Hilda Solis Care First Village in Los Angeles (services for people experiencing homelessness), House with Three Pavilions in Goa (fostering biodiversity, near zero-impact construction), Timber House in Kent (Passivhaus), Lemvig Klimatorium in Denmark (small environmental footprint), 'Structure' by Better Shelter (emergency housing), Khor Kalba Turtle and Wildlife Sanctuary in UAE (prefabrication), Kaj micro-hotel in Copenhagen (self-building and recycled material), Tambacounda Hospital extension in Senegal (earth bricks, brise soleil, local vernacular techniques), SLAK Campus in Kenya (low-tech, earth building), TECLA by Mario Cucinella Architects (3D printed earth house), Casona Sforza in Mexico (brickwork, low tech, natural ventilation), Elephant World in Thailand (low tech, local materials and construction, supporting wildlife), Powerhouse Telemark in Norway (energy-positive building, BREEAM certification), and Anandaloy in Bangladesh (community support, local materials and labour), Treehouse in Costa Rica (passive temperature control and rainwater recycling), Bahareya Village in Egypt (recycled construction material), Cold Spring Residence in USA (Passivhaus), and Flying House in India (mud brick, local construction). The article emphasizes that these projects collectively demonstrate how architects globally are addressing environmental and social concerns through thoughtful design, material selection, and construction practices, pushing the boundaries of what is possible in sustainable building. #SustainableArchitecture #GreenBuilding #EcoFriendlyDesign #MaterialInnovation #CircularEconomy #Passivhaus #CommunityDevelopment #ArchitecturalDesign #EnvironmentalImpact

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

econitWood™ presents a sustainable wood manufacturing process that transforms timber scraps and wood residues into innovative materials for design and interiors, addressing critical environmental challenges. This process offers a solution to concerns such as deforestation, carbon emissions, and waste generation associated with traditional wood usage. The core of econitWood™'s approach lies in its ability to convert wood by-products like sawdust, wood chips, and forestry waste into valuable materials such as particleboard and MDF, maximizing resource utilization and promoting a circular economy. Founded in Germany by a multidisciplinary team, econitWood™ aims to tackle the wood industry's environmental impact while meeting the demand for sustainable materials. The resulting materials exhibit high sound-absorbing, thermal insulation, and fire-resistant qualities, potentially leading to CO2-neutral final products. The technology is characterized by a zero-waste philosophy, efficiently using raw materials and reducing the reliance on virgin wood. Sustainability is further integrated into econitWood™'s production process through several key areas. The company employs eco-friendly adhesive technologies, utilizing bio-based or low-formaldehyde content adhesives to improve indoor air quality and minimize harmful emissions. The manufacturing process is designed for minimal energy consumption, incorporating energy recovery systems to capture and reuse heat, thereby lowering the carbon footprint and operational costs. Additionally, the process includes innovative water-saving techniques and closed-loop systems for water treatment and recycling, significantly reducing water consumption. Another significant aspect is the application of 3D printing technology, which allows the material to be shaped into meticulously defined geometric forms. This not only preserves the wood's inherent CO2 absorption capacity but also expands its functional and aesthetic possibilities. This capability was showcased during Milan Design Week 2024, where Italian designer Harry Thaler presented the “Printed Nature” exhibition. Thaler’s collection featured new wooden furniture elements created using econitWood™’s 3D printing process, including sinuous seats, lamps resembling fungi, and functional stools and tables. These pieces, displayed against a backdrop of wood powder, highlighted the vast creative potential and experimental opportunities offered by the technology, balancing functionality, technology, and sustainability. Thaler’s designs explored unexpected proportions and organic shapes, challenging traditional architectural and design boundaries. Beyond furniture design, econitWood™ materials have diverse applications in construction for building materials like flooring, roofing, and wall panels, as well as in manufacturing cabinetry and other interior fittings. The process also provides eco-friendly alternatives for sustainable packaging solutions. The made-to-order approach adopted by econitWood™ minimizes excess inventory and waste associated with mass production, promoting conscious consumption. The craftsmanship involved blends artistic freedom with precision, utilizing advanced technology and sustainable materials to create bespoke pieces that embody environmental stewardship. econitWood™’s commitment to quality, efficiency, and eco-friendliness positions it as a leader in the movement towards responsible consumption and sustainable wood manufacturing. #SustainableDesign #InnovativeMaterials #WoodManufacturing #CircularEconomy #3DPrinting #InteriorDesign #FurnitureDesign #EcoFriendlyAdhesives #ResourceEfficiency

The article presents a curated list of the top ten design stories of 2022, as selected by Wallpaper*'s design editor, Rosa Bertoli. The year marked a significant return of design weeks and events to the global stage, fostering an environment rich with innovation and creativity. The selection encompasses a diverse range of design narratives, from exclusive interviews with prominent figures in the design world to groundbreaking projects and new conceptual spaces. One highlight includes the 2023 horoscopes by Studiopepe, which explored the zodiac signs of renowned 19th and 20th-century designers. Chiara di Pinto and Arianna Lelli Mami of Studiopepe discussed the fascinating connection between astrological traits and the design philosophies of figures like Ludwig Mies van der Rohe (Aries, 'less is more'), Verner Panton (Aquarius, visionary), and Charlotte Perriand (Sagittarius, adventurous). They also noted Ettore Sottsass, a Virgo, whose need for order in everyday life contrasted with the chaos he contained internally, offering a fresh perspective on the geometry in his work. Another significant feature was Kelly Wearstler, a prominent American designer and Wallpaper*'s guest editor for the October 2022 issue. The article delves into her Beverly Hills home, exploring her insights on technology, craft, and her extensive portfolio of interior projects. Wearstler's influence, almost 13 years after being dubbed 'the presiding grande dame of West Coast interior design,' continues to grow, marked by her bold interiors, furniture design ventures, and a substantial social media following. The Tígín Tiny Homes project by Irish social enterprise Common Knowledge presented an alternative to conventional renting solutions. These mobile small homes, whose name means 'small house or cottage' in Gaelic, are designed with thoughtful considerations and eco-conscious materials, making their building information freely accessible. This initiative aims to inspire self-build projects and offer sustainable living options without being a universal housing solution. The article also features an interview with British-Nigerian designer Yinka Ilori, held in his new London studio ahead of his first solo exhibition at the Design Museum. Ilori discussed how traditional Nigerian parables and African fabrics deeply influence his work, emphasizing the power of storytelling as a core element of his creative process. Studio Formafantasma's new Milan studio, located in Assab One, is showcased as a testament to designers Andrea Trimarchi and Simone Farresin's ability to create holistic and aesthetically pleasing designs. The studio, which doubles as an office and home, features bespoke furniture designed to adapt to the post-COVID workspace, reflecting the blurring lines between professional and domestic environments. Collaborations in design are also highlighted, such as the all-season tent developed by Icelandic outerwear brand 66 North and German innovator Heimplanet. This tent, inspired by Icelandic shelters, boasts a geodesic dome structure, inflatable framework, and robust weatherproof materials, designed for extreme conditions and accommodating up to four people. An exclusive interview with Danish designer Bodil Kjær, celebrating her 90th anniversary, sheds light on her philosophy. Kjær, who defines herself not as a furniture designer but as an 'environment designer,' emphasizes solving defined problems with creations that serve as 'elements of architecture,' rigorously considering structure, functionality, and aesthetics. Molteni & C's new pavilion complex in Giussano, designed by creative director Vincent Van Duysen, integrates hospitality into the brand's architectural history. Inspired by Luca Meda and Aldo Rossi’s original showroom, the pavilion serves as a reception, restaurant, and hospitality space, surrounded by gardens, embodying the synergy between architecture and furniture. The Terra Carta Design Lab, founded by King Charles III and Sir Jony Ive, is recognized for its commitment to regenerative design. This initiative champions young designers developing high-impact, low-cost solutions to the climate crisis, emphasizing a shift from merely sustainable practices to restorative ones. Finally, the article explores the growing movement of regenerative design, with architect Michael Pawlyn advocating for a paradigm shift from sustainable practices to actively restoring ecosystems. This approach, which aims for humans to co-evolve with nature, involves nurturing biodiversity and reducing carbon footprints in the production of homes, infrastructure, furniture, and food, emphasizing integration with the web of life rather than separation. #DesignTrends #InteriorDesign #Architecture #DesignInnovation #SustainableDesign #DesignerInterviews #HomeDesign #RegenerativeDesign #LuxuryInteriors