Fefostudio and Kamilla Csegzi create mycelium-based Ephemeral Table

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

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

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

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

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

The design industry has seen a continuous upward trend in biophilic design, which incorporates elements of nature into built environments. 3form, an award-winning materials innovator, introduces a novel approach to this movement with its new Ivory Flora Collection. This collection deviates from the conventional green and brown palettes typically associated with biophilia, instead presenting an all-white, neutral range of botanical patterns. The focus of the Ivory Flora Collection is to celebrate the inherent textures, intricate details, and varied scales of natural materials, offering a fresh perspective on how organic elements can influence a space, from fostering calmness to creating dramatic visual interest. Ryan Smith, 3form's Chief Creative Officer, emphasizes that the collection shifts the understanding of biophilia from merely a color additive to an appreciation of the tactile and visual qualities that organics provide. This results in surfaces that draw the viewer in with a stunning display of materiality. The collection features three distinct scaled patterns, each designed to evoke a different mood and suit various applications. Star Flower, the smallest pattern, is characterized by delicate and whimsical flora, making it suitable for healthcare and wellness settings where subtle design and intricate details are desired. Mountain Fern offers a fluid design with an elegant, overlapping pattern that appears boundless, creating a sense of continuous flow. The largest pattern in the collection, Anahaw Palm, evokes the image of fronds on a white sandy beach, providing a strong sense of neutrality and deep visual texture. This pattern is designed to add a luxurious feel to any space. To achieve these unique designs, 3form's designers meticulously pressed dried botanicals into the company's flagship Varia product. Extensive testing was conducted to observe how these flora interact with natural light, revealing a dynamic interplay between crisp cleanliness and warmth. This dichotomy enhances the depth and texture, which are highly sought after in biophilic design and broader interior aesthetics. The Ivory Flora Collection, available in Varia material platform, comes in panel sizes of 48″ x 96″ and 48″ x 120″, with gauges ranging from ¼” to 1″. The lead time for these panels is four weeks. The collection offers versatility, allowing designers to either integrate 3form’s existing color system to customize the Ivory Flora patterns or use them as a modern neutral statement. The core appeal lies in how these durable design materials encapsulate the intricate details of nature, promising longevity and aesthetic value. Furthermore, the Varia material platform, used for the Ivory Flora Collection, boasts several environmental certifications, including Optimized EPD (SCS), Greenguard Gold (UL), Type III EPD (SCS), and a Red List Free Declare Label (ILFI). These certifications are a testament to 3form’s comprehensive sustainability program, Align, which was launched in March 2020. Align reflects the company's commitment to enabling architects, designers, and consumers to make informed and responsible choices regarding their purchases and construction practices. The Ivory Flora Collection aligns with this commitment, promoting both aesthetic innovation and environmental stewardship. #BiophilicDesign #IvoryFloraCollection #3form #InteriorDesign #ArchitecturalMaterials #SustainableDesign #CommercialInteriors #NaturalElements #DesignInnovation

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

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

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

The integration of green walls into retail spaces is gaining traction as businesses recognize the aesthetic and functional benefits they offer. A prime example of this trend is the Peet’s Coffee & Tea outlet located in the Westfield Plaza Bonita Mall in National City, California. This particular store, completed in February 2016, showcases a LiveWall® Green Wall System that significantly enhances its interior environment. Designed by REM Architects, Inc., the green wall serves as a central feature within the 1,700-square-foot coffee shop. Upon entering the store from the parking lot, customers are greeted by this unexpected and pleasant surprise. The living wall is strategically placed to establish a visual and environmental buffer between the bustling service counter and the more serene seating areas. The installation comprises two distinct sections: a larger one measuring 12 feet wide by 5.5 feet high, and a smaller one at 6.5 feet wide by 5.5 feet high. The plant selection for the green wall was carefully curated to offer a diverse and visually appealing display. Tropical plants were chosen for their varied variegation, different shades of green, inclusion of yellow and red tones, unique textures, and interesting shapes. This thoughtful selection creates a dynamic and living piece of art that complements the store's interior design, as noted by Steve Mora, president of MCS Consolidated Group, Inc., a licensed Peet’s partner. Beyond their aesthetic appeal, planted green walls, especially in indoor settings, provide a multitude of benefits. They contribute to improved indoor air quality by purifying the air and reducing airborne dust and particulates. Their ability to absorb sound helps in mitigating indoor noise levels, creating a more tranquil atmosphere for customers. Furthermore, through the process of evapotranspiration, the plants release water vapor, which can naturally cool indoor air during warmer months and add essential moisture to dry, heated environments in winter. These environmental advantages are complemented by social benefits, as the presence of natural vegetation can evoke feelings of tranquility, offer a sense of respite, and inspire visitors. The adoption of green walls also has a demonstrable impact on retail success. Horticulturalist Dave MacKenzie, the inventor of LiveWall, highlights that the unique presence of natural vegetation has been shown to attract shoppers and encourage spending. Research from environmental consulting firm Terrapin Bright Green, LLC, supports this, indicating that consumers tend to purchase more in retail environments that thoughtfully incorporate vegetation. This project at Peet’s Coffee & Tea therefore stands as a testament to how retailers are increasingly leveraging green architecture to create more inviting, comfortable, and ultimately more profitable spaces. #GreenWall #LiveWallSystem #RetailDesign #InteriorDesign #SustainableArchitecture #BiophilicDesign #CommercialProjects #PeetsCoffee #IndoorPlants

Yunting Lin, a multi-disciplinary designer, has developed a novel material called nanocellulose fiberboard, which offers a 100% recyclable and biodegradable alternative to conventional materials like MDF and molded plastics. This sustainable product addresses the environmental concerns associated with traditional fiberboards, which are neither eco-friendly nor recyclable and often emit harmful substances like urea-formaldehyde, linked to various health issues. The nanocellulose fiberboard is composed of plant fibers, such as flax, and naturally fermented nanocellulose. Both components are already produced on an industrial scale in Europe and East Asia, indicating the feasibility of widespread adoption. The material's non-toxicity is a key advantage over existing alternatives. Lin demonstrates the versatility and potential applications of nanocellulose fiberboard through three distinct product prototypes: a modular storage system, interior wall panels, and Bluetooth speakers. These examples highlight the material's ability to be utilized in various consumer and construction contexts, directly replacing less sustainable options. The manufacturing process for nanocellulose fiberboard is designed to be compatible with existing factory infrastructure, requiring similar techniques to those used for conventional products. This compatibility facilitates a smoother transition for industries looking to adopt more sustainable materials without significant investment in new machinery. Furthermore, the material allows for the integration of surface colors and patterns during manufacturing, eliminating the need for post-production laminating or painting. This feature significantly reduces labor and time costs associated with finishing processes. A notable characteristic of nanocellulose fiberboard is its high moldability and the reduced energy required for its processing compared to plastics. This attribute makes it an ideal candidate for product casings, particularly for high-turnover consumer electronic products, where rapid production and material efficiency are crucial. The material can also be produced in various densities, allowing it to substitute different types of fiberboards effectively while maintaining performance. The research and development of this innovative material were conducted by Yunting Lin in collaboration with Dr. Koon-Yang Lee, underscoring the scientific backing behind its creation. The project emphasizes a move towards more environmentally responsible material science and product design, offering a practical solution to reduce waste and minimize the environmental impact of manufacturing. #NanocelluloseFiberboard #SustainableMaterials #Biodegradable #Recyclable #EcoFriendlyDesign #YuntingLin #MaterialInnovation #GreenBuildingMaterials

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

The Bale modular storage box and side table, designed by Copenhagen-based Bundle Studio, exemplifies an innovative approach to furniture design by merging sustainable materials with adaptable functionality. This piece addresses multiple challenges in contemporary living spaces through its elegant simplicity and thoughtful engineering. Its design prioritizes sustainability without compromising aesthetics or performance, using flax fiber and PLA bio-composite materials. The core of Bale's appeal lies in its material composition, which challenges traditional notions of sustainable design. Instead of relying on greenwashing, the design transparently showcases its bio-composite nature as both an environmental statement and an aesthetic choice. This creates a product that feels simultaneously modern and tactile, with natural variations in the material that contribute to its unique character and ability to age gracefully. The construction of the Bale unit is a testament to clever engineering. It consists of four identical thermo-pressed panels that connect using visible snap rivets, allowing for robust assembly without the need for tools. This snap-rivet system simplifies the assembly process, making it accessible for repairs or modifications and significantly reducing the frustration associated with traditional furniture construction. Furthermore, the ability to pack all components into a compact box reduces shipping costs and environmental impact, while its lightweight nature ensures easy repositioning within a space. Functionally, Bale is highly versatile, adapting to various roles within a home. It effectively serves as storage for items such as blankets, books, or toys. It can also function as additional seating, and multiple units can be neatly stacked to maximize space. The potential for integrating wheels to transform it into a mobile storage solution further highlights its adaptability and practical design. This versatility ensures that the furniture excels in several essential functions rather than attempting to perform many tasks inadequately. Bundle Studio's commitment to sustainability extends beyond material choice to influence the entire design philosophy. The use of bio-composite materials not only benefits the environment but also enhances the product's durability and repairability, outperforming traditional plastics in some respects. This approach minimizes manufacturing investment compared to injection molding and positions Bale as a mid-premium product that makes sustainable design accessible without compromising quality or aesthetic appeal. The design avoids the common pitfall of sacrificing performance for eco-credentials, presenting a mature and viable solution for environmentally conscious consumers. The visual design of Bale is characterized by its restraint, providing a calm and unobtrusive presence in any living space. It avoids bold statements, allowing it to integrate seamlessly into diverse interior aesthetics. The visible snap rivets are not merely functional but are incorporated as subtle design elements, adding visual interest and celebrating the product's construction method. This design philosophy underscores the idea that modular furniture does not require complex mechanisms or expensive hardware to be genuinely useful. The ease of assembly and disassembly makes it ideal for individuals who frequently move, rent, or value furniture that can adapt to changing needs. Bale is designed for longevity and transformation, ensuring that it remains relevant and useful over time, embodying a design that is both environmentally responsible and desirable for real-world living. #BioComposite #Modular #SideTables #Storage #StorageBox #SustainableDesign #FurnitureDesign #HomeFurnishings

Entler Studio, initially known for its lighting products, has expanded its ceramic offerings to include planters and end tables, applying its distinctive sculptural aesthetic to new home furnishing categories. The new collection features Ceramic Planters, characterized by their three-legged, round-bodied design, and Beginning End Tables, which echo the brand's signature bulbous forms. These new pieces were developed from founder Jonathan Entler's vision to create a fully branded room environment. The studio's exploration into planters and tables posed unique challenges due to the inherent complexities of slipcast ceramic as a material. However, Entler Studio emphasizes the sustainable aspect of ceramic production, noting that greenware and bisqueware can be endlessly recycled. The Ceramic Planters are available in various finishes, including a satin matte that accentuates the soft shadows and curves of the design, and a high-shine, gummy jewel-like finish achieved through applying up to 15 coats of glaze. This meticulous glazing process highlights the studio's commitment to a high level of finish and visual appeal. The planters are designed to hold plants, serving both a functional and decorative purpose within interior spaces. The accompanying Beginning End Tables come in two heights, providing versatility for different uses and arrangements, while maintaining a cohesive visual language with the planters through their glossy, mirror-topped surfaces and solid, sculptural forms. The design of the high-top table is a minimal extrusion of the side table, ensuring consistency across the collection and simplifying production processes. Jonathan Entler also prioritizes sustainability in the production and packaging of these new items. The studio has made significant strides in minimizing waste by reducing inorganic materials by 80%, substituting traditional plastic and foam packaging with more environmentally friendly wood and recycled paper. This initiative is particularly impactful for ceramic products, which are typically challenging to ship and require substantial packaging, thereby reducing pollution and enhancing environmental safety. Entler Studio, founded in Los Angeles in 2015, began with the objective of creating a format of cast ceramic that could be assembled into larger lighting fixtures. Following extensive experimentation, the studio successfully launched its initial lighting collection, which quickly gained popularity. The brand now offers endlessly customizable pieces in a wide array of 32 colors, signifying its growth and adaptability within the design market. The expansion into planters and tables represents a natural progression for the studio, leveraging its expertise in ceramic craftsmanship and distinctive design philosophy to enrich the broader home furnishings landscape. #Ceramic #CeramicPlanter #HomeFurnishings #IndoorPlanter #JonathanEntler #Planters #SideTable #Sustainability #TableDesign

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