marleen kaptein employs aerospace fibre placement technique to form carbon chair

This article discusses an experimental collaboration between Italian furniture brand Cappellini and Swedish flooring company Bolon, focusing on the innovative use of Bolon's woven vinyl material as upholstery for furniture. Giulio Cappellini, the director of Cappellini, details how his company is integrating Bolon's new material into their furniture designs, marking a significant departure from its traditional use as flooring. The collaboration centers around a new version of the Anemos coffee table, originally designed by Italian designer Antonio Facco for Cappellini in 2015. The initial Anemos product featured a wooden table with four padded seats, which could be retracted to form a unified, monolithic shape. Cappellini and Facco sought to reimagine this design, aiming for a softer aesthetic with fully upholstered seats. For this new iteration, they chose Bolon's Villa La Madonna material. This hybrid material, first introduced in a collection of experimental rugs at Stockholm Design Week, combines strips of vinyl with other textiles like wool and polyester. Facco highlights the material's durability, which surpasses that of conventional upholstery fabrics, enabling its application not only on the seats but also on the tabletop. This decision allows for a cohesive and unified visual appeal across the entire piece of furniture, blurring the lines between different surfaces within a space. Cappellini's relationship with Bolon dates back several years, with prior collaborations involving Bolon flooring in installations and showrooms. However, this project represents their initial foray into utilizing Bolon's material for furniture upholstery. The current result is a prototype of the Anemos table, serving as an experimental foundation for future developments. Both companies view this project as a crucial experimental phase. Cappellini expresses commitment to further developing furniture designs with Bolon, anticipating that this prototype could evolve into a commercially viable product within approximately a year. The article is part of a 12-part video series, “Bolon at Heart,” produced by Dezeen, which explores Bolon's history, design philosophies, and technological advancements. #FurnitureDesign #BolonFlooring #CappelliniFurniture #ExperimentalMaterials #InteriorDesignInnovation #WovenVinylUpholstery #AntonioFacco #VillaLaMadonna

The creative studios Astronauts and SERAPIS have collaborated to produce the steel chairs Scylla & Charybdis, which are being showcased at Alcova Miami from December 2nd to 8th, 2024, coinciding with Miami Art and Design Week. These chairs draw inspiration from the formidable Greek mythological sea monsters of the same names and are constructed with rigid unibody steel structures. The Athens-based collectives have designed the chairs with pointed tips at their ends, reminiscent of crab claws. These sharp ends serve a functional purpose by pinning down the upholstery, crafted from jacquard-woven cotton fabric by SERAPIS, onto the seat to form the cushion. The collaboration brings together the distinct yet complementary backgrounds of both studios. Astronauts, founded by Danae Dasyra and Joe Bradford, is a creative studio, while SERAPIS, a hybrid art, design, and fashion collective, includes members and artists Krini Dimopoulou, Dimitra Dimopoulou, and Manolis D. Lemos. Their shared inspiration from Greek mythology for the Scylla & Charybdis chairs is a central theme of their presentation at Miami Art and Design Week. Each collective contributes its specialized expertise to the creation of these sea-monster-like steel chairs. Astronauts is responsible for designing and shaping the thin steel sheets into the chair bases, utilizing the hydroforming technique for precision and structural integrity. SERAPIS then introduces its signature 'rust' colorways, applied to both the upholstery and the metallic finish of the chairs, enhancing their aesthetic appeal. The legs of the chairs are forged from steel and subsequently finished with a custom translucent powder coating. This particular finishing technique allows the natural heat blemishes that occur during the welding process to become visible on the surface, creating a unique ombré effect. The design is completed with pointed tips on the legs, which give the Scylla & Charybdis chairs an ethereal appearance, as if they are subtly hovering above the ground. In addition to the Scylla & Charybdis chairs, Astronauts and SERAPIS are also presenting other works at Alcova Miami. These include vases inspired by sea anemones, their new Sao mobile sculpture made from aluminum and stainless steel, and a hanging silk piece titled Ever Scrapping (Sharjah Yard), which features a printed image of a scrap yard in Sharjah. The exhibition of these pieces underscores the studios' innovative approach to design and their ability to blend artistic vision with functional furniture, all while drawing from rich cultural and natural inspirations. #ChairDesign #SteelFurniture #MythologicalInspiration #AlcovaMiami #MiamiArtAndDesignWeek #AstronautsStudio #SERAPISCollective #HydroformingTechnique #ContemporaryFurniture

German design graduate Meike Harde has developed an innovative range of upholstered benches and stools under the name "Zieharsofika." This furniture collection is characterized by its unique construction method, which involves simply folding foam mats and securing them to wooden frames using elastic bands. Harde's primary motivation for this design was to explore novel approaches to upholstery construction, specifically aiming to create a rigid yet comfortable cushion from a flat foam mat, challenging conventional upholstery techniques. Harde explains that traditional upholstery often strives for wrinkle-free fabric, a process that typically involves complex construction and significant time investment. In contrast, her Zieharsofika method embraces the natural creases and folds of the foam, using them as both an aesthetic ornamentation and a functional element to achieve stiffness. This approach streamlines the manufacturing process significantly. The construction of Zieharsofika furniture is remarkably simple, relying on just three core components: foam, rubber bands, and wood. The process begins with a foam mat, which is layered and gathered tightly to form distinct waves. These waves are then held together at the top and bottom with elastic bands. Following this, the foam cushion is compressed further and secured with longer elastic bands applied in the opposite direction. Finally, a wooden stool or bench frame is inserted underneath these elastic fastenings, completing the assembly. A key advantage of this design is the absence of permanent connections between the foam cushioning and the wooden frame. This allows for easy replacement of the cushions if they become worn or damaged, extending the lifespan of the furniture and offering practical maintenance. The collection includes both small stools, which Harde likens in appearance to broccoli, made from square foam pieces, and benches constructed from rectangular foam pieces. Addressing potential questions about comfort, Harde clarifies that the Zieharsofika furniture is intended to function as a bench rather than a very soft armchair. She draws a comparison to the comfort level of Chesterfield leather furniture, suggesting a firm but supportive seating experience. Harde's previous work includes a series of thought-provoking masks titled "Too Beautiful to be True," demonstrating her diverse design explorations. The Zieharsofika project stands out for its elegant simplicity, efficient use of materials, and innovative approach to furniture construction and upholstery. #MeikeHarde #FurnitureDesign #Upholstery #ProductDesign #InnovativeMaterials #Seating #FoamFurniture #IndustrialDesign #SustainableDesign

The article introduces 'Circular by Design,' a new column exploring projects that embody the circular economy, focusing on the potential of waste as a valuable raw material. The inaugural piece highlights a collaboration between British textiles manufacturer Camira and the SEAQUAL Initiative to create the industry's first upholstery fabric from ocean plastic. This initiative addresses the environmental crisis of ocean plastic pollution by transforming waste into a functional product. Ciara Crossan, Camira's group design manager, explains the motivation and process behind their Oceanic Project. Her background in textile design, with degrees from Central Saint Martin’s College of Art and Design and the Royal College of Art, underpins her passion for well-designed, functional, and sustainable products. The Oceanic Project, inspired by David Attenborough's 'Blue Planet' program, aims to contribute to cleaning oceans and land by using recycled plastic. The Oceanic fabric is entirely made from recycled plastic, combining ocean plastic with post-consumer plastic bottles. Each meter of fabric incorporates the equivalent of 26 plastic bottles. The SEAQUAL Initiative plays a crucial role by collecting waste plastic from the sea and beaches, primarily in the Mediterranean Sea and Spain, and processing it into yarn. The chosen material is Polyethylene Terephthalate (PET), commonly found in drinking water bottles. The clear or light blue color of these bottles makes them ideal for textile production, as they can be transformed into dyeable yarn and fabric. Camira has a long history of utilizing waste as a raw material, dating back over 20 years. Their past innovations include recycled wool fabric from army jumpers and recycled polyesters from PET bottles. The Oceanic project represents an advancement in their commitment to environmental stewardship by integrating ocean plastic. The process involves sorting collected plastic waste by polymer type, washing, shredding, and extruding it into polymer chips. These chips are then combined with other post-consumer recycled PET chips by a yarn supplier, melted, and extruded into texturized yarn, which Camira then weaves into the final fabric. Crossan expresses satisfaction with the transformation of waste into a high-quality product. Despite initial perceptions of recycled plastic leading to rigid fabrics, Oceanic demonstrates a soft yet durable texture, suitable for both task and soft seating, featuring a distinctive diagonal pattern. The fabric is designed for a lifespan of 10 years and, theoretically, can re-enter the circular economy if easily removed and returned for further recycling processes. The public reception to the Oceanic Project has been overwhelmingly positive, largely due to the widespread awareness and concern about marine plastic pollution. Customers are increasingly interested in supporting sustainable products and initiatives. The article concludes by emphasizing a shift in public perception towards waste as a valuable raw material, highlighting that recycled products can still possess high-end quality and finish. Camira's future strategy involves continued innovation in naturally sustainable materials, expanding their use of wool-bast fibers, introducing new recycled fabrics, and exploring concepts like cork and British wool fleece, alongside advancing their technical knitting capabilities for recycled polyester. This reflects a broader industry trend towards circular design and the imperative for designers to contribute to a better, more sustainable world. #CircularEconomy #SustainableDesign #OceanPlastic #UpholsteryFabric #RecycledMaterials #TextileInnovation #EnvironmentalStewardship #ProductDesign #WasteManagement

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

The construction industry is a significant contributor to the planet's CO2 emissions, accounting for nearly 40%. While the role of interiors has often been underestimated in these statistics, with furniture, fixtures, and equipment typically cited as responsible for only 7-10% of a project's carbon footprint, recent research indicates a different reality. This new data suggests that over a building's average lifespan, the carbon footprint generated by its interiors can equal or even surpass that of the structure and envelope. This revelation highlights that interior design, contrary to previous assumptions, has been contributing substantially to environmental harm. Consequently, addressing the climate crisis has become a critical imperative not only in large-scale construction but also in the design and production of decorative elements and furnishings. In response to this pressing environmental challenge, furniture designers and manufacturers are increasingly prioritizing sustainability alongside traditional considerations like comfort, aesthetics, and functionality. This involves a commitment to climate-smart fabrication processes, the integration of recycled materials, and the creation of high-quality products designed for extended durability. These efforts are geared towards generating a positive environmental impact and meeting the demands of an increasingly environmentally conscious consumer base that seeks responsible consumption options. The article delves into the specific example of a 100% sustainable lounge chair, developed by Andreu World with design by Patricia Urquiola, as a testament to these evolving industry standards. This chair, called Nuez Lounge Bio, represents a pioneering effort in sustainable furniture design. Its entire shell is crafted from a thermoplastic polymer sourced from 100% renewable natural materials, which are biodegradable and compostable. This innovative material choice allows the chair to be fully recycled at the end of its useful life, minimizing its environmental impact. The chair's design also emphasizes a unified, monomaterial approach for the shell, simplifying the recycling process. The commitment to sustainability extends beyond the shell, as the chair is offered with upholstery made from 100% recycled fabrics and four-legged wooden bases derived from reforested wood. The development of this lounge chair underscores a growing trend in the furniture industry to adopt circular economy principles. It showcases how collaboration between designers and manufacturers can lead to breakthroughs in material science and production methods that significantly reduce the carbon footprint of interior products. The Nuez Lounge Bio chair, with its use of bio-based, compostable, and recyclable materials, sets a benchmark for what is achievable in sustainable furniture. This approach not only mitigates environmental damage but also offers consumers products that align with their values for a more sustainable future. The narrative of this chair serves as an illustrative case study for the broader movement towards ecological responsibility in design, emphasizing the importance of material innovation and lifecycle thinking in creating truly climate-smart products. #SustainableFurniture #ClimateCrisis #InteriorDesign #RecycledMaterials #BiodegradableDesign #AndreuWorld #PatriciaUrquiola #CircularEconomy #LoungeChair

Italian brand Varaschin, known for its woven rattan and wicker furniture, introduces the 'Emma' chair, a collaboration with Milan-based designer Monica Armani. The Emma chair is designed with a distinctive woven backrest that pays homage to Varaschin's manufacturing heritage. This backrest is available in various textiles and colors, including synthetic fiber cord and waterproof fabric, making the chair suitable for both indoor and outdoor environments. The customization options extend beyond the backrest, with seats offered in a range of textiles and colors such as teal and granite. The legs of the chair can also be customized with various metal finishes or natural wood, allowing for extensive personalization to fit diverse aesthetic preferences and settings. Monica Armani has developed two primary versions of the Emma chair: a traditional dining chair and a matching armchair. This dual offering ensures versatility in application, catering to different functional needs within a space. Varaschin highlights the Emma chair's adaptability, stating that its numerous combinations of seats, legs, and backs allow it to seamlessly integrate into contemporary living spaces, offering a modern and versatile seating solution. The collaboration with Monica Armani marks a new chapter for Varaschin, a company founded in 1969 by Ugo and Pietro Varaschin. Initially specializing in furniture crafted from traditional hand-woven rattan and wicker, Varaschin expanded its offerings to include synthetic alternatives. The company's current focus is primarily on manufacturing furniture for outdoor use, with previous introductions including a collection of outdoor rocking chairs. The Emma chair reinforces this commitment to outdoor living while maintaining a connection to the brand's roots in woven furniture. Monica Armani, an industrial designer and architect, began her career in 1996 and has since collaborated with several international brands such as Kvadrat and Cassina. Her design for the Emma chair reflects a sophisticated understanding of materials and user needs, combining aesthetic appeal with practical functionality. The chair's design emphasizes tactile qualities through its woven backrest, aiming to provide comfort and visual interest. This product launch is presented as a promotional feature, underscoring the innovative aspects and design philosophy behind the Emma chair and its potential impact on contemporary furniture design. #MonicaArmani #Varaschin #EmmaChair #OutdoorFurniture #WovenFurniture #CustomizableDesign #FurnitureDesign

British designer Terence Woodgate has unveiled a new furniture collection, "Lightness of Form," for Carpenters Workshop Gallery, which features pieces made from recycled carbon fibre. Developed in collaboration with engineer John Barnard, who pioneered carbon-fibre in Formula 1 car design, the collection includes a table, desk, chaise longue, chair, and a cabinet currently in development. The collaboration between Woodgate and Barnard dates back to 2006, when they were both elected Royal Designers for Industry at the Royal Society of Arts. Their previous joint project, the Surface Table for Established & Sons, launched in 2008 and served as a precursor to this new collection. The "Lightness of Form" collection leverages Formula 1-grade carbon fibre and advanced tooling to create furniture that combines sculptural aesthetics with practical ergonomics. A notable piece is the Aero Leg Table, a 3.6-metre-long table with a super-slim top supported by slender legs. The tabletop tapers to a few millimetres thick and is lacquered underneath to create the illusion of floating. The teardrop-shaped legs are inspired by Barnard's F1 car suspension designs, further emphasizing the lightweight aesthetic. Woodgate emphasized that the project's aim was to achieve visual minimalism and structural reductivism, drawing inspiration from artists and architects like Eduardo Chillida, Tadao Ando, and Luis Barragán. This design philosophy necessitated a strong collaborative effort among the designer, engineer, and specialist fabricators, as the carbon fibre itself forms the entire structure, leaving no hidden supports. This approach demands exceptional craftsmanship due to the exposed nature of the material. The furniture is constructed from a recycled carbon fibre that offers a distinct flecked surface finish. Unlike the standard carbon fibre used in earlier projects, this recycled material is more durable and does not require lacquering. Woodgate expressed a preference for the aesthetic qualities of this recycled material, noting that it offered new design possibilities that he found superior to virgin carbon fibre, challenging the notion that recycled materials always entail a compromise in appearance. Further pieces in the collection include a desk inspired by American artist Sol LeWitt's isometric drawings, designed to appear as a simple planar surface from one side while incorporating drawers on the opposite side. The desk's wedge shapes manipulate perspective to enhance its seemingly impossible lightness while maintaining structural integrity. The collection also features a chair influenced by Donald Judd's minimalist furniture and an organically shaped chaise longue with a magnetically mounted headrest. Both seating pieces exploit carbon fibre's flexibility to enhance user comfort. Woodgate noted that working on pieces for a gallery setting allowed for a more experimental design process compared to mass production, likening it to the innovative environment of Formula 1 where pushing boundaries is encouraged. The exhibition "Lightness of Form" was presented at Carpenters Workshop Gallery to coincide with London Design Festival 2025 and is scheduled to run until November 1st. Woodgate, recognized as a Royal Designer for Industry since 2003, has a history of designing for various brands, including a floor lamp for Case Furniture. The London Design Festival, which concluded on September 21st, showcased numerous design innovations across the city, with the Dezeen team highlighting their favourite products from the event. #CarbonFibre #FurnitureDesign #MinimalistDesign #TerenceWoodgate #JohnBarnard #CarpentersWorkshopGallery #LondonDesignFestival #RecycledMaterials

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

Herman Miller has collaborated with German industrial designer Stefan Diez to introduce their inaugural nesting chair, named the Fuld Nesting Chair. This seating solution is engineered to optimize space utilization, featuring a design that allows for efficient storage when not in use. A key aspect of its functionality includes flip-up seats and specialized wall-saving legs, meticulously designed to prevent the seat-back from making contact with and potentially damaging walls. The Fuld Nesting Chair incorporates innovative design and manufacturing principles aimed at reducing environmental impact. Its construction utilizes a pioneering one-piece frame and tubular arms, a method chosen to minimize material waste during the production process. Further demonstrating its commitment to sustainability, the chair incorporates a unique 3D Knit textile. This fabric is composed of 50 percent post-consumer recycled content and is precisely knitted to the chair's specific dimensions, eliminating excess material and fabric waste. Functionality is also a central theme in the chair's design, particularly concerning user comfort and adaptability. The backrest of the Fuld Nesting Chair is engineered with a degree of flexibility, allowing it to adapt to the user's posture and movements, thereby enhancing comfort. This design feature underscores a focus on ergonomic considerations in addition to space-saving and sustainable manufacturing. Stefan Diez provided insights into the development process by sharing a series of prototyping photographs on his personal website. These images offer a behind-the-scenes look at the various stages of the chair's evolution, from initial concepts to refined models. The prototyping phase likely involved extensive testing and modifications to achieve the desired balance of form, function, and sustainability. The Fuld Nesting Chair represents a notable addition to Herman Miller’s product line, showcasing advancements in furniture design that address both practical user needs and environmental responsibility. #IndustrialDesign #FurnitureDesign #NestingChair #HermanMiller #StefanDiez #SpaceSaving #SustainableDesign #Prototyping #ErgonomicDesign

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

Asa Pingree, a furniture artisan based in Brooklyn, has developed the Eclipse Ottoman, a sculptural seating solution that combines simple shapes with high-spec materials. The ottoman's design is heavily influenced by Pingree's background in boat building, particularly his father's work with fiberglass and carbon fiber composites. This familial connection to material science and construction is evident in the choice of lightweight fiberglass for the ottoman's base. The base utilizes a vacuum infusion process, a sophisticated technique that draws resin through reinforcement fabrics under high vacuum, resulting in extreme durability and suitability for outdoor use, thanks to its molded gel coat surface. This method highlights Pingree's deep understanding of material properties and how they can be leveraged to achieve specific design and functional outcomes. The Eclipse Ottoman collection, of which this piece is a part, emerged from a blend of playful exploration and a commitment to clean lines. The forms integrate cylinders, half cylinders, and cradles, offering versatility in creating various models and ergonomic contours for comfort. The design allows for adaptable usage, with cushions that can function equally well on the floor or in their designated place on the ottoman, providing flexibility for different lounging preferences. The initial inspiration for the collection, particularly the "Magic Daybed," a predecessor to the Eclipse Ottoman, draws directly from a family boat. This lobster-style picnic boat featured a large, flat engine box that transformed into a spacious bed with a hinging headrest, a concept of functional transformation that Pingree carried into his furniture design. Beyond the innovative base, the Eclipse Ottoman features a cushion crafted from super high-density foam, ensuring both comfort and longevity. This foam is enveloped in Maharam fabric, a material chosen for its exceptional wear resistance and inherent flame-retardant properties. The selection of materials reflects a holistic approach to design, prioritizing both aesthetic appeal and practical performance. Pingree's design philosophy, rooted in his generational craft, emphasizes that a thorough understanding of a material's intrinsic qualities reveals the forms that are uniquely possible with that material. His expertise in composite lamination, a skill honed through his upbringing, consistently informs his design choices, pushing the boundaries of what is achievable with materials like fiberglass. The production of fiberglass components is described as a process-heavy endeavor, involving multiple stages of both mold making and part lamination. This complex manufacturing journey underscores the artisanal precision and technical skill required to bring the Eclipse Ottoman to fruition. The product embodies a fusion of traditional craftsmanship and modern material science, offering a piece of furniture that is not only visually striking but also engineered for enduring quality and versatile functionality. The Eclipse Ottoman serves as a testament to Asa Pingree's ability to translate complex material knowledge into elegant and highly functional design, bridging his heritage in boat building with contemporary furniture creation. #FurnitureDesign #FibreglassFurniture #AsaPingree #ModernFurniture #OutdoorFurniture #SculpturalSeating #InnovativeMaterials #CompositeLamination #HighDensityFoam

The article showcases unique home decor items crafted from repurposed aviation parts, specifically focusing on a ceiling fan and a coffee table. Phighter Images, a company specializing in such products, offers a ceiling fan constructed from components of a Pratt & Whitney JT8 engine. This fan measures 39 inches in diameter, a reduced size compared to the original JT8D fan's nearly 50 inches, making it more suitable for typical room dimensions. The fan is controlled remotely. Phighter Images also provides an alternative version of the ceiling fan, which is based on the General Electric GE9X engine and features a different blade design, catering to specific aesthetic preferences. Customers also have the option to purchase an engine cowl ring to complement the fan, enhancing the visual effect of an engine integrated into the ceiling. Beyond ceiling fans, the company produces a coffee table that incorporates a jet engine, complete with mood lighting around its base. Phighter Images has a history of creating these distinctive items, driven by the passion of its owner, Kurt Eldrup, and his father, a retired Brigadier General, for aviation. The company emphasizes the historical significance and stories associated with the aircraft parts they repurpose. The process involves locating these parts and then transforming them into functional and decorative home items, while preserving their unique history. The article highlights the innovative and aesthetically striking nature of these aviation-themed home furnishings. #HomeDecor #AviationFurniture #UniqueDesign #RepurposedMaterials #IndustrialDesign #LivingRoomIdeas #CustomFurniture

Australian designer Marcel Sigel, in collaboration with the furnishings and décor brand Gohome, has introduced the 'Lunar' collection, a series of three chairs designed to offer flexible seating solutions for various environments, including residential, hospitality, and commercial settings. The collection is characterized by its soft, curving lines, which are achieved through injected 3D foam manufacturing. A distinctive feature of the 'Lunar' chairs is an arched lumbar scoop, a detail that not only enhances comfort but also contributes significantly to the aesthetic character of the pieces. This design element is said to be reminiscent of a rising moon, from which the collection derives its name. The 'Lunar' collection comprises three distinct styles: 'Lander', 'Rover', and 'Orbiter'. Each style shares the core design philosophy of comfort and visual appeal, adapted to slightly different forms or functionalities. The chairs are upholstered with Camira fabric, offering a choice of four colors: black, grey, blue, and red. This color palette allows for versatility in fitting into diverse interior designs and themes. The use of injected 3D foam manufacturing is a key aspect of the chairs' construction, enabling the creation of smooth, ergonomic curves that conform to the body while maintaining a streamlined appearance. Attention to detail is evident in the design, particularly with the contrasting stitching on the back of the chairs. This subtle yet impactful detail adds a dynamic visual element, preventing the chairs from appearing monolithic and instead providing a sense of movement and crafted quality. The 'Lunar' collection is intended to be adaptable, catering to a broad spectrum of interior design needs. For instance, the 'Lunar Orbiter' model is highlighted as being stackable, a practical feature that makes it suitable for spaces requiring efficient storage or flexible arrangements, such as event venues, conference rooms, or even compact residential areas. The collaboration between Marcel Sigel and Gohome brings together innovative design principles and manufacturing capabilities to produce furniture that is both aesthetically pleasing and functional. The collection aims to provide comfortable and stylish seating options that can seamlessly integrate into various contemporary settings. The inspiration drawn from the moon's shape not only gives the collection its poetic name but also influences the gentle, inviting contours that define each piece within the series. The durability and material choices, such as the Camira upholstery, suggest a focus on longevity and ease of maintenance, further broadening their appeal for both private and public spaces. #MarcelSigel #Gohome #LunarCollection #ChairDesign #FurnitureDesign #3DFoamManufacturing #CamiraUpholstery #InteriorDesign

Marie van der Kroft, a Dutch designer, has developed an innovative wooden cabinet named Impress, which embodies her lifelong inquisitorial nature and desire to understand how things work. Her creative journey began in childhood, marked by a persistent curiosity and a keen interest in building. A significant early influence was receiving her own toolbox at the age of six, followed by an experience dismantling a kitchen tap with her father, which fostered a hands-on approach to understanding mechanisms. Kroft's design philosophy is rooted in experimentation with materials, particularly wood, which she favors for its warm and natural qualities. She aims to highlight the unique characteristics of materials in unexpected ways. A central aspect of her process involves meticulously considering how objects are perceived and how they can be made active. She explores movement and its numerous possibilities to create interior pieces that offer an element of surprise and serve as focal points, rather than merely blending into their surroundings. This approach combats pure functionality and tediousness, focusing instead on dynamic designs that elicit both physical and emotional responses, aligning with her Atelier Makr’s mission. Her Impress cabinet exemplifies this philosophy. Although it appears to be a rigid structure, its design allows it to transform through interaction. The cabinet is constructed from oak wooden planks, supported by side walls made of spring metal. The inherent flexibility of the spring metal is crucial to the cabinet's changing appearance, drawing observers in with its minimalist and elegant aesthetic. When items are placed on its wooden shelves, their weight triggers a transformation, causing the cabinet to adopt a wavy form. Small spacers are incorporated to control the degree of this distortion. Upon the removal of the objects, the Impress cabinet reverts to its original, unperturbed state. This dynamic interaction between the cabinet and its contents illustrates a poetic interplay between action and reaction, emphasizing the interconnectedness between human users and the materials of the object. Each unique arrangement of items on the shelves leads to a distinct configuration, making predictability an irrelevant concept in the design. Consequently, every Impress cabinet becomes individually unique, constantly adapting to its owner's engagement. Kroft believes strongly in fostering meaningful connections with objects, transforming them into cherished companions over time. The Impress cabinet profoundly reflects this belief, embodying a continuous and daring dialogue between the user and the furniture piece. #FurnitureDesign #MarieVanDerKroft #ImpressCabinet #WoodDesign #InteractiveDesign #MaterialInnovation #DutchDesign #AtelierMakr

Amorim Cork Composites, an innovation arm of the world's leading cork producer Corticeira Amorim, highlights the growing interest among architects and designers in utilizing cork to minimize the carbon footprint of their projects. The company emphasizes cork's remarkable versatility as a material, citing its natural properties such as thermal and acoustic insulation, impact absorption, anti-slip characteristics, and soft tactile quality. This increased adoption is evident in various high-profile collaborations, including furniture designs for renowned designers Tom Dixon and the Campana Brothers, the creation of door handles for architect Eduardo Souto Moura, and the supply of wall panels for Counterspace's 2021 Serpentine Pavilion. A key environmental advantage of cork is its ability to sequester carbon. Unlike timber harvesting, cork is obtained from the outer bark of the cork oak tree, predominantly found in Western Mediterranean regions like Portugal. This process allows the tree to remain standing and continue sequestering carbon, with cork forests retaining up to 73 tons of carbon dioxide for each ton of cork harvested annually. This makes cork a renewable and sustainable alternative to more polluting materials in construction and design. While cork has traditionally been associated with bottle stoppers, Amorim Cork Composites is actively exploring innovative applications for the material. They are developing new composites and products by repurposing cork waste generated during manufacturing. This involves combining cork with other natural materials such as clay, foams, wood, and metal to create a diverse range of items, including tables, kitchen accessories, office supplies, furniture, and lighting. The company notes that these cork-based products are often distinguished by their aesthetic appeal and contemporary design. Further innovation is seen in Cork Polymer Compounds, which are bio-composites created by blending cork with polymers. These compounds offer the malleability and durability of thermoplastics while retaining the lightness, resilience, and sustainability inherent in cork. Amorim Cork Composites explains that cork's low density can reduce the volume of plastic consumed by up to 60 percent, positioning these compounds as a more sustainable alternative to entirely plastic-based materials. To foster further development and collaboration, Amorim Cork Composites established the ACC Design Studio last year. This studio serves as a creative hub dedicated to exploring new innovative materials and concepts derived from cork. It facilitates partnerships with designers, architects, and brands, providing them with continuous technical support throughout their projects. This initiative underscores the company's commitment to pushing the boundaries of cork's utility and promoting its sustainable applications in design and architecture. #CorkDesign #SustainableMaterials #CarbonFootprintReduction #ArchitecturalInnovation #ProductDesign #RenewableResources #BioComposites #MaterialVersatility

Raf Simons, the acclaimed fashion designer known for his work with Jil Sander and Dior, and recently appointed co–creative director at Prada, has launched his latest textile collection for the Danish textile company Kvadrat. This collaboration, which began in 2014, introduces two new upholstery fabrics, Helia and Silas, drawing inspiration from Persian lamb fur and matte surfaces. These new offerings result in a bouclé fabric and a matte fabric, both characterized by a notably soft and gentle hand. Anna Vilhelmine Ebbesen, Kvadrat's head of design consumer, highlights the textiles' extra softness, which contributes to a more rounded, organic aesthetic, and their comforting tactility. In addition to the new fabrics, Simons has refreshed the color palette of Sunniva, a previously designed textile. The collection's launch also features a unique application of these new materials: Simons has used them to reupholster Roberto Matta’s Malitte Seating System, a modular furniture piece from 1966 that is part of the Museum of Modern Art (MoMA) collection. This choice serves as a playful contrast to the sophisticated elegance of the new upholstery textiles, reflecting Simons's haute couture background. Ebbesen expresses her admiration for Simons's creative approach, noting his distinctive perspective on textiles and colors, which brings a fresh dimension to furniture and space design. She describes Simons as a brave individual and an attentive listener who values diverse opinions, qualities she deems crucial for successful collaborations. His commitment to questioning established norms and refusing to compromise on detail or quality further underscores his meticulous design philosophy. The development of this collection predated the global impact of COVID-19, and a planned celebratory event for the launch was canceled due to the pandemic. However, the timing of the new collection, with its focus on enveloping and comforting interior fabrics, proved to be particularly relevant as consumers were spending more time at home. Despite the challenges posed by the pandemic, Ebbesen remains optimistic, viewing the crisis as an opportunity for reevaluation and positive change within Kvadrat's operational practices. #RafSimons #Kvadrat #UpholsteryFabrics #TextileDesign #RobertoMatta #MalitteSeatingSystem #FashionDesigner #InteriorDesign #FurnitureDesign