Dr. Carol Bentel Tackles the Issue of Disposable Design at Design Talks 2019

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

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

BekaertDeslee's U.S. showroom in Winston-Salem, North Carolina, showcases the company's approach to mattress ticking design, emphasizing the blend of artistry and technical expertise required in the field. The showroom features a wide array of fabric samples, ranging from classic whites and grays to vibrant aquas, purples, and charcoals, displayed against crisp white walls to enhance their visual impact. The space, adorned with natural light and potted plants, fosters both functionality and creativity, reflecting the company's design philosophy. Kara Pruitt, BekaertDeslee's lead designer, highlights the comprehensive nature of design, which extends beyond aesthetics to include manufacturability and scalability. Designers must consider trends, color, texture, and dimension while ensuring that each fabric can be mass-produced efficiently. The intricate process involves controlling thousands of needles in circular knitting to create millions of stitches for a single fabric design, a testament to the technical precision involved. The U.S. design team, a multinational group including Pruitt and led by Charlene Vaz, director of marketing and design for BekaertDeslee North America, collaborates with colleagues in Canada and Mexico to form the North American design unit. This diverse team brings a wealth of skills and aesthetic sensibilities, driving innovative ideas for clients. The design process for mattress ticking typically begins by aligning the fabric's value with the customer's vision and the mattress's market positioning. Ticking serves as a crucial element of 'package design,' communicating the mattress's characteristics—whether it offers cooling properties, moisture-wicking, or simply represents quality at an affordable price. Designers work closely with the new product introduction (NPI) team to select appropriate yarn types and fabric constructions, ensuring the design meets both aesthetic and functional requirements. Client collaborations vary, with some, like Kingsdown, seeking fashion-forward, bolder designs inspired by external fashion trends, often involving multiple collaborative sessions. Other clients prioritize commodity-driven solutions, requiring well-priced, durable fabrics for long-term use. This adaptability highlights the team's ability to cater to diverse customer needs. For general market offerings, the design team relies on extensive trend research, partnering with WGSN to identify key directions in color, pattern, and consumer preferences. Current trends indicate a preference for bold and unexpected fabrics, which Vaz attributes to a post-pandemic desire for energy, particularly among Gen Z consumers who represent the future home market. Artificial intelligence has emerged as a valuable tool in accelerating and diversifying fabric design. Designers use AI generators to create unique artwork, transforming initial concepts into larger, more colorful patterns, which helps overcome creative blocks and generates novel ideas. While AI provides a starting point, the design team emphasizes that it is a tool rather than a complete solution, requiring human input and refinement. An instance involved an AI-generated image of a teal and orange paisley mattress, which inspired new fabric collections displayed at industry events. Beyond design, BekaertDeslee prioritizes dependability and sustainability. The company has reduced sample turnaround times to two weeks or less and utilizes digital rendering software to explore design ideas efficiently, minimizing waste. Sustainability is a core mission, leveraging advanced European initiatives to offer recycled polyester and circular fabrics made from biodegradable yarns in North America. An example is a zipperless, mono-material cover (100% polyester) designed for easy disassembly and recycling at the end of the mattress's life, addressing a common recycling challenge associated with mixed-fiber fabrics. Designers also proactively integrate sustainability into future projects, offering clients recycled yarn options, even if they come with a slight upcharge. The design team also works with global supply sourcing and NPI teams to ensure competitive pricing and appropriate construction for various client needs. #BekaertDeslee #TextileDesign #MattressFabrics #Sustainability #DesignInnovation #AIinDesign #CircularEconomy #HomeFurnishings #ProductDevelopment

Erik de Laurens, a former Master's student in Product Design at the Royal College of Art (RCA), has developed an innovative and sustainable material named Scalite, derived entirely from fish scales. His work addresses the growing need for environmentally friendly materials in various industries, including interior design and construction. The inspiration for Scalite came from de Laurens's search for a sustainable raw material, leading him to explore the potential of fish scales, which are a significant waste product of the fishing industry and are largely undervalued. De Laurens discovered that fish scales naturally contain a polymer, which he learned to extract. This extracted polymer is then combined with the mineral elements also present in the scales. The resulting powder undergoes a compression process, transforming it into sheets or tiles that possess characteristics akin to natural stone. The naming of 'Scalite' is a deliberate reference to early plastics like Bakelite, highlighting its foundational role as a novel material. Following his graduation, de Laurens established a company, also named Scalite, to commercialize this material. The company currently offers Scalite in tile form, primarily targeting interior applications. The material boasts impressive environmental credentials; it is 100% bio-based, requiring no chemical additives in its production, and it repurposes a readily available waste product. Beyond its sustainability, Scalite is also aesthetically pleasing, offering a unique visual and tactile quality suitable for modern interior finishes. The development of Scalite represents a significant step forward in material innovation, showcasing how industrial design can leverage waste streams to create valuable, eco-conscious products. By transforming what was once discarded into a durable and attractive material, de Laurens's work contributes to a circular economy model. The material's application in interior design signifies its potential to replace less sustainable options while offering a distinct aesthetic. This innovation not only provides a practical solution for waste management but also expands the palette of sustainable materials available to designers and architects. #ProductDesign #SustainableMaterials #FishScales #BioBasedMaterial #MaterialInnovation #CircularEconomy #InteriorDesign #WasteUtilization #RCAAlumni

ECONYL® by Aquafil is committed to integrating sustainable practices into design, focusing on the complete lifecycle of products. Recognizing that the future of sustainable design lies with emerging talent, ECONYL® has partnered with the MFA Textiles program at the Parsons School of Design. This collaboration aims to empower design students to embrace circular design principles and equip them with the necessary tools to contribute to a circular economy. ECONYL®, produced by Aquafil, is a nylon that can be infinitely recycled and regenerated. It offers a more environmentally conscious alternative to traditional oil-based nylon, being made entirely from waste materials that would otherwise contribute to environmental pollution. This regenerated nylon performs identically to new nylon but significantly reduces global warming potential by up to 90%. This makes it a crucial material for creating a positive environmental impact both now and in the future. In the inaugural year of the partnership with Parsons, students were tasked with designing an item—ranging from accessories and clothing to furniture and textiles—using ECONYL® nylon. A key requirement was that the designed piece could be responsibly disposed of at the end of its initial use, emphasizing the concept of circularity. The project showcased a wide array of talent and creativity, with many students drawing inspiration from the origins of ECONYL® fibers, incorporating natural colors and shapes into their designs. Preethi Gopinath, Program Director for MFA Textiles at Parsons, highlighted that the project allowed students to explore their creativity while focusing on sustainable textile objects. She noted that the program’s emphasis on sustainability, social justice, well-being, health, and artistic design made the partnership with an environmentally focused brand like ECONYL® a natural fit for students from diverse backgrounds including fashion design, fine arts, and interior design. Students like Alyssa Schulman expressed amazement at the versatility of ECONYL® yarn and the potential it holds for the textile industry, especially given its low carbon footprint. Lenna Keshishian, who created handwoven upholstery, emphasized how the project shifted her perspective to consider the entire lifecycle and recyclability of a product from the outset of the design process. Xiaofan Qu’s 'The Connection Between Humans and the Ocean Wall Art' highlighted the human impact on the ocean, using interactive elements to demonstrate that even small actions can have significant environmental effects. Padina-Bondar's Moroccan-inspired chandelier further exemplified the creative applications of the material. To acknowledge the innovative spirit of these students, ECONYL® and Aquafil established the 'ECONYL® x Aquafil: Designing for the Future Award'. The Aquafil leadership team selected three top designs from Parsons MFA Textiles students, providing them with the opportunity to exhibit their work at NeoCon 2022. The award recipients included Jason Greenberg for his naturally dyed ECONYL® yarn, Hannah Kim for her ocean-inspired LED lamp, and Xinyu Wang for her Zori-inspired knit sandals. Jason Greenberg found that ECONYL® yarn absorbed natural dyes more efficiently and produced more vibrant colors than natural fibers. Hannah Kim’s lamp, inspired by the ocean, used LEDs and infrared sensors to create dynamic lighting effects. Xinyu Wang’s sandals, created using a Japanese hand-weaving technique, reflected the circularity and durability of ECONYL® nylon, embodying the concept of nature’s reciprocal relationship with humans. The Aquafil team expressed profound satisfaction with the inventiveness and artistic expression demonstrated by the students. They were particularly encouraged by the students' newfound understanding and appreciation for working with ECONYL® yarn, underscoring the belief that these young designers will significantly influence the future of art and design industries by championing sustainable practices. #SustainableDesign #ECONYL #Aquafil #CircularEconomy #TextileInnovation #ParsonsSchoolOfDesign #EcoFriendlyMaterials #DesignEducation #EnvironmentalImpact

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

Gencork is redefining the application of cork in design through its integration of high-tech computational design with cork's natural and sustainable attributes. This approach rejuvenates cork's aesthetic and expands its utility, moving beyond traditional uses to contemporary applications in surfaces and interior elements. Cork, known for its hydrophobic, compostable, recyclable, lightweight, elastic, thermal, and acoustic insulation properties, as well as fire resistance, is being presented in a new light. At the core of Gencork's innovation is the collaboration between Sofalca, a Portuguese cork processor established in 1966, and DIGITALAB, an innovative studio specializing in generative design and digital fabrication. Sofalca, situated near Portugal's cork oak forests, emphasizes environmentally and socially conscious production, utilizing a closed-loop system where biomass from harvesting fuels its manufacturing process, achieving 95% energy self-sufficiency. DIGITALAB, led by Ana Fonseca and Brimet Silva, applies digital technologies across various design disciplines, previously creating cork threads for lighting and furniture. Toni Grilo, an acclaimed designer and art director for Sofalca’s Blackcork brand, also contributes significantly to Gencork’s pattern designs. The manufacturing process begins with cork harvested from oak branches, leaving the trees intact. Sofalca processes these branches into pellets, which are then baked in an autoclave. Water vapor injected during this stage causes the pellets to expand and agglomerate into solid blocks, bound solely by cork’s natural resins without added chemicals. These blocks are subsequently cut into panels and precisely milled using CNC technology, guided by computational design principles. Algorithmic scripts enable the creation of a diverse range of shapes and scales, allowing for tailored applications. The 2020 Corkllection showcases these advancements, featuring cork tiles, modular cork bricks for wall coverings, a cork table light, and customizable generative wall panels. The autoclaving process imparts a distinctive dark, rich, chocolatey color to the cork. Gencork's designs draw inspiration from nature, mathematics, geometry, and biomimetics, resulting in patterns that range from fluid ripples and swirls to abstract geometric forms reminiscent of origami. The granular texture of the cork maintains a warm, organic feel, even with precise milling, and the 3D panels exhibit a characteristic lined texture. These dynamic patterns allow for the creation of undulating or complex geometric wall surfaces. Corkbricks, available in square or triangular modules, facilitate regular or uniquely irregular 3D installations. Two-dimensional designs include a progressive hexagonal pattern inspired by M.C. Escher, magnetic wave motifs, and op-art grids. Tessellating cork tile designs like Corkunit and Corkarc create complex topographic surfaces, while Corkboard offers a minimal diamond tile with optional shelves for display. The generative designs are functional, enhancing cork’s inherent thermal and acoustic properties. They transform cork from a utilitarian, often concealed material into a prominent feature in contemporary design. Gencork’s approach adds significant value and broadens cork's appeal for both commercial and residential projects, elevating cork wall tiles beyond their traditional perception into an attractive and disruptive design element. #MaterialsAndSurfaces #InnovationDesign #InnovativeMaterials #SustainableDesign #CorkDesign #GenerativeDesign #DigitalFabrication #InteriorDesign #ComputationalDesign

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

Elli Design, a brand committed to sustainable and long-lasting furniture with Italian excellence, presents a collection that integrates avant-garde shapes, innovative contemporary designs, and revolutionary technology alongside skilled craftsmanship. The brand's philosophy centers on leveraging the past as a catalyst for innovation, aiming to create products with distinct character and a strong identity while minimizing environmental impact. This approach is evident in their manufacturing processes and material choices, which prioritize sustainability and circularity. At the core of Elli's creative process is an innovative and sustainable manufacturing model. The brand endeavors to redefine traditional design procedures by merging Italian heritage and quality with advanced, eco-friendly technologies. They achieve this through collaboration with a network of expert artisans and the use of cutting-edge methods. A key partnership is with Caracol, an additive manufacturing company that provides 3D printing technology. This technology enables each piece of furniture produced by Elli to be recycled and repurposed into new materials, fostering a circular manufacturing system. Furthermore, their production strategy adheres to a zero-waste logic, fully aligning with circular economy principles. By ingeniously utilizing the inherent properties of plastic, Elli ensures that its products are 100% recyclable at the end of their lifecycle, thereby completing the closed-loop system. Beyond the products themselves, Elli extends its sustainable ethos to packaging. The brand uses reusable packaging crafted from FSC-certified wood, consciously avoiding plastics such as bubble wrap and polystyrene. This wooden packaging is designed for multiple uses, serving as a container, storage unit, or even an urban garden, further reducing waste and promoting resourcefulness. The collection features several distinct pieces, each embodying Elli's design philosophy. The Soho Table showcases a central leg with an organic, slender form, created through a 3D printing process using glossy white PLA (polylactic acid), a bioplastic derived from corn and wheat. Its round top is available in ceramic or Fenix. The Soho Chair represents the brand's core values, combining clean lines and aesthetic references to Italian design history with innovative materials and production methods. The seat is manufactured using robotic 3D printing technology with polypropylene containing glass microfibers, a durable material sourced from 100% recycled content, offering a soft, velvety touch. The Bryant side table is characterized by a distinctive twist in its design, resembling fabric. The structure is made from opaque black polypropylene, also from recycled sources, and its top comes in ceramic or Fenix. This piece exemplifies the fusion of ancient artisanal expertise with modern manufacturing technologies. Finally, the Achille coffee table is a homage to the renowned Italian designer Achille Castiglioni. Its base is crafted from canaletto walnut, featuring opulent shapes with a single tapered leg set into a diagonally cut globe. The round top is made from FENIX NTM®, a nanotech material with a matte black finish. Through these collections, Elli Design demonstrates a comprehensive commitment to innovative, sustainable, and aesthetically refined furniture production. #SustainableDesign #3DPrinting #FurnitureDesign #CircularEconomy #InnovativeMaterials #ItalianDesign #Bioplastics #RecycledMaterials #EcoFriendlyPackaging

The article highlights six innovators in Denver who are using design ideas to address problems and foster significant developments within the city. These individuals and firms represent diverse fields, including real estate development, museum direction, furniture design, and home technology, all contributing to Denver's evolving aesthetic and functionality. Mike Blea and Breton Lujan, co-founders of Raw Creative, are presented as pioneers in a comprehensive design-build-fabricate model. Their firm handles architectural design, construction, and custom furnishing fabrication, creating unique commercial spaces like Señor Bear and Morin restaurants. Their integrated approach allows them to maintain control over design concepts, pushing boundaries that might challenge others unfamiliar with fabrication. They emphasize their hands-on involvement, from architectural planning to the actual building process, which they find rewarding. The co-founders recall solving budget constraints at Table 79 by manipulating inexpensive materials to achieve a high-end Scandinavian look and meticulously designing hair-cutting stations for Elle.B Salon Central based on observed stylist movements. Looking ahead, Raw Creative is exploring micro-housing concepts to address Denver's affordability issues and expanding into residential projects, focusing on modest, comfortable, and sustainable designs, particularly in areas like Aspen. Alex Capecelatro, co-founder and CEO of Josh.ai, introduces Josh, an AI-powered home assistant designed to understand natural human speech and control home automation systems. Unlike other voice assistants, Josh integrates advanced intelligence to monitor various home aspects, including energy usage, weather patterns, and even specific room locations to tailor responses. Josh Micro, the hardware component, is designed with aesthetic appeal, featuring a concave shape inspired by Richard Serra sculptures and an invisible LED ring that indicates listening and touch controls. The device primarily processes data locally, ensuring customer privacy. Capecelatro envisions future home technology focusing on health and wellness, with products monitoring indoor air quality, water quality, and sleep patterns to improve residents' lives. Jonathan Alpert, a partner at Westfield Company, discusses his firm's contributions to Denver's development, including the Mission Ballroom, Stanley Marketplace, and S*Park, a sustainable condo community with an urban farm. He explains how Westfield Company collaborated with AEG to develop the Mission Ballroom as part of the larger North Wynkoop project, which includes offices, retail, and future residential and hotel components. Alpert defines sustainable development as encompassing environmental, social, and economic viability, exemplified by S*Park's urban farm. He acknowledges the challenges of Denver's growth, particularly regarding housing affordability, and advocates for public-private partnerships, expedited permitting for affordable housing projects, and increased efforts to build more financially viable affordable homes to ensure Denver remains an inclusive and thriving city. Nora Burnett Abrams, the new director of the Museum of Contemporary Art Denver (MCA), shares her vision for the institution. Having previously worked at prestigious New York museums, Abrams highlights Denver's unique culture of risk-taking and entrepreneurial spirit, which allows for greater artistic experimentation. She aims to build upon MCA's strong foundation, prioritizing support for local artists and expanding outreach to teen and young adult audiences, offering free admission for teens. Abrams also plans to embed the museum more deeply within the city through partnerships with other organizations, exploring topics beyond aesthetics, such as environmentalism, social justice, and mental health. She envisions MCA as a versatile space for both social gatherings and intellectual discovery, fostering curiosity and appreciation for contemporary culture. Richard Shirtcliffe, co-CEO of Noho, a Boulder and New Zealand-based furniture company, details his innovative approach to furniture design rooted in sustainability and human physiology. Motivated by the pervasive plastic pollution in oceans, Shirtcliffe co-founded Noho to create good-looking furniture from sustainable polymers and upcycled ocean plastic. His collaboration with Formway, a company known for dynamic comfort in commercial furniture, led to the development of chairs that support blood flow and improve cognitive function. Their first product, the Move Chair, is designed to flex and move with the body, made from repolymerized plastic, and features interchangeable wool toppers. Shirtcliffe emphasizes Noho’s mission to build a thriving business that positively impacts the world and individual well-being, starting with significant steps towards addressing environmental challenges through commerce. #DenverDesign #ArchitecturalInnovation #SustainableDevelopment #HomeAutomation #UrbanPlanning #ContemporaryArt #FurnitureDesign #AffordableHousing #CircularEconomy

Dutch design studio Luis Marie has introduced Plissade, an acoustic room divider that is notable for being entirely textile-based and capable of standing independently. This innovative design reimagines traditional textile pleating techniques to create a sculptural and functional partition, which has been shortlisted in the textile design category of the Dezeen Awards 2025. Plissade is constructed with an inner layer of felt derived from post-consumer polyester clothing and an outer layer made from recycled polyester yarns. The studio employed a unique binder- and adhesive-free stiffening process to fold these materials into a robust structural form. This method allows the divider to maintain its shape and stand without requiring additional support or rigid reinforcements, distinguishing it as the "first-ever all-textile room divider." The design features two interlocking textile layers that form a series of hollow, diamond-shaped tubes. These tubes contribute to the structural stability of the partition while also enabling easy disassembly. The studio highlights that this assembly process integrates existing technologies from the fashion and automotive upholstery industries, applying them in a novel context to ensure the product's circularity. By avoiding adhesives and resins, Plissade can be fully disassembled and recycled at the end of its life cycle. Environmental considerations were central to Plissade's development. The outer woven yarn is dyed using digital printing techniques, a process that significantly reduces the consumption of water and chemicals compared to conventional dyeing methods. This approach aligns with the studio's commitment to sustainable design practices. The resulting product is designed to be foldable, modular, and lightweight, making it a versatile acoustic solution suitable for both residential and professional environments. Its portability and ease of storage mean it can be adapted to various spatial needs, offering flexibility in room arrangement and sound management. Luis Marie, based in Rotterdam, specializes in creating products that enhance living environments with color, warmth, and comfort. The studio aims to push the boundaries of production methods, developing pieces that blur the lines between art and functional design. Plissade exemplifies this philosophy by transforming recycled textiles into a visually striking and highly practical room divider. This design contributes to a broader trend of innovative textile applications in interior design, as seen in other recent developments like Newstalgia flooring, which reinterprets 1970s and 80s fabrics, and pleated lighting displays by A-Poc Able Issey Miyake and Atelier Oï. Plissade stands out for its structural integrity derived solely from textiles and its commitment to circular design principles, offering a sustainable and aesthetically pleasing option for dividing spaces. #TextileDesign #RoomDivider #RecycledMaterials #AcousticSolutions #SustainableDesign #InteriorDesign #PleatingTechnique #CircularEconomy #RotterdamDesign

The article explores five ingenious and unconventional applications of products and materials observed at Copenhagen's annual design festival, 3 Days of Design. These innovations showcase creative approaches to interior design and sustainability, moving beyond traditional uses of materials. The first innovation highlights cabinetry crafted from flooring, featured in the new Dinesen apartment designed by John Pawson. The kitchen cabinetry by Garde Hvalsøe’s Layer, designed by Baks Arkitekter, uses Dinesen Layers Oak, with internal solid reinforcement made from floorboards turned sideways. This approach not only demonstrates a novel use of material but also offers a unique aesthetic, inspired by Pawson's own kitchen's simple steel worktop. The Dinesen apartment itself, with its serene and light Scandinavian chapel-like atmosphere, served as a backdrop for Pawson's updated Dining Series and new Lounge Series, both incorporating Dinesen materials. The second innovation focuses on acoustic panels created from plants, specifically eelgrass, by the Danish manufacturer Søuld. Traditionally used for thatched roofs on Laesø island, Søuld is repurposing eelgrass into acoustic designs. This material offers numerous benefits beyond sound absorption, including thermal and moisture absorption, natural renewability, resistance to fire and mold, and carbon storage. Søuld's expansion into North America through a partnership with Spinneybeck underscores the growing interest in sustainable and eco-friendly design solutions. A third notable application involves using tile as door molding, presented by Kaufmann Keramik in collaboration with Studio Force Majeure. The exhibition showcased new ceramic benches by Sebastian Herkner and creative uses of his tile designs. Particularly striking was the application of the 'Soap' tile shape around a doorframe, functioning as an elegant and distinctive alternative to conventional wallpaper or wood trim. Other innovative uses included the slanted Acqua tile as mirror edges or wall adornments, and Sahel room dividers serving as entryway walls. Fourth, the article details upholstery made from 100% ocean-bound waste by Kvadrat, as part of their ReThink exhibition. This sixth iteration of Kvadrat's Design Projects emphasized sustainability and material innovation. The Octopoda, featuring interiors-applicable Sport upholstery designed by Patricia Urquiola, is highlighted. This textile is a recycled polyester woven from plastic collected from coastlines and remote islands in Thailand. The in-person experience confirmed its pleasant texture, challenging preconceived notions about recycled materials. Finally, the article mentions a cement planter that can grow itself, displayed at "A Calm Place," a small-group furniture exhibition by Objective Studies in Copenhagen’s Østerbro neighborhood. This exhibition aimed to connect Danish home culture with nature and natural materials, showcasing a cement planter designed with the ability for self-growth. This innovation suggests future possibilities for materials that evolve and adapt within living spaces, embodying a deeper integration of natural processes into design. These five examples collectively underscore a broader trend towards innovative, sustainable, and multi-functional design solutions observed at the Copenhagen festival, pushing the boundaries of traditional material applications in home decor. #CopenhagenDesignFestival #SustainableMaterials #InteriorDesignInnovation #MaterialRepurposing #EcoFriendlyDesign #TileDesign #AcousticSolutions #OceanBoundPlastic #JohnPawson

This article discusses a roundtable held at the Atlas Concorde showroom during Clerkenwell Design Week 2023, focusing on the evolving language of biophilia in surface design within the hospitality industry. The discussion involved seven prominent designers and explored how natural elements, sustainability, and circularity are integrated into hotel design. The consensus from the roundtable was that biophilic design is not a fleeting trend but a fundamental aspect of contemporary design, with a deepening understanding of its psychological impact. The conversation highlighted that the availability of materials for biophilic design has increased, and their price points have become more accessible due to shifting supply and demand. Technological advancements have also played a crucial role in developing sustainable and practical products that mirror natural aesthetics. Designers noted that clients are increasingly requesting biophilic elements, driving changes across the supply chain. The discussion also covered how the pared-back aesthetic, a symbiotic relationship with biophilic design, is influencing projects. Elena Verdera Pastor of Studio Moren cited the Westin London as an example, where ceramic reproductions of marble offer a sustainable and cost-effective way to achieve a luxurious, natural look. Una Barac of Atellior discussed the SIRO project, which focuses on a reduced, honest material palette and sustainably produced tiles inspired by nature to create a calming, timeless environment, emphasizing that biophilia extends beyond just greenery to encompass all sensory experiences. The panelists also explored how surface design adapts to different hotel environments. Chin Lim of HKS explained that resorts are inherently more biophilic due to their natural integration of indoor and outdoor spaces, while urban hotels pose a greater challenge. Sarah Wakefield of JOLIE highlighted the importance of subtle biophilic elements like patterns and textures in furniture, especially in urban settings where direct natural references are scarce. Charlie Cruickshank of AIME Studios shared how they overcame the lack of natural light in Gleneagles' Restaurant Andrew Fairlie by drawing inspiration from a 'Secret Garden' through various surfaces and patterns to create an intimate space that still reflected nature. The challenges of specifying sustainably were also addressed, with Lim noting that project funding is increasingly tied to ESG goals, making it easier for designers to guide clients toward sustainable products. Barac emphasized the importance of being open-minded and thoroughly investigating the origin, production, and longevity of materials. Pastor added that designers are researching local materials to add authenticity and address sustainability concerns, communicating this research to clients to provide a comprehensive understanding of the production and delivery process. The roundtable also touched on unconventional material use, such as reusing existing site materials for new surfaces, as mentioned by Wakefield, and incorporating murals by local artists with organic forms and natural paint types, as exemplified by Cruickshank at The Hoxton. Diana Darmina of LXA suggested designers explore waste by-products from factories to find innovative uses. Lim concluded by sharing the example of the Corinthia Maldives, where a bamboo structure made from local materials and designed by local artists reflects the island's natural elements, demonstrating how innovative material use can be socially transformative. The discussion underscored that the biophilic design path, while not always easy, offers increasingly interesting interpretations as designers and suppliers collaborate to challenge conventional ideas of materials and surfaces in the context of sustainability. #BiophilicDesign #SurfaceDesign #HospitalityDesign #SustainableMaterials #HotelDesign #ClerkenwellDesignWeek #InteriorDesign #AtlasConcorde #MaterialInnovation

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

This article explores a collection of 17 architectural and design projects that ingeniously transform traditionally 'ugly' or unconventional materials into aesthetically pleasing and functional spaces. The underlying theme is the challenge and triumph of creating architectural masterpieces from resources that are often overlooked or considered difficult to work with, such as corrugated metal, concrete pipes, cardboard, and recycled plastics. The projects highlight how innovative designers and architects are redefining beauty in construction, often driven by desires for cost-effectiveness, unique aesthetics, or environmental sustainability. Several projects demonstrate the unexpected versatility of industrial materials. For instance, an office in a former Italian villa, transformed by Archisbang, incorporates metal mesh, exposed wood fiber, concrete insulating panels, and galvanized metal sheets, showcasing a striking contrast between precise detailing and raw materiality. Similarly, a metallic workspace in Munich utilizes shiny bubble wrap for curtains, steel grate catwalks, and reflective surfaces, creating a unique and functional environment. The Shipwreck Lodge in Namibia elevates Oriented Strand Board (OSB) to a luxurious finish in a boutique hotel, demonstrating how a budget-friendly material can contribute to a chic and cozy interior, particularly when prefabrication is employed to minimize environmental impact in a remote setting. Other examples include the Hotel Carlota in Mexico City, which revives a historic location by integrating concrete-brick lattice and plywood details into its exterior corridors, celebrating the character of existing structures. A midcentury-inspired home in Northern California showcases corrugated metal, specifically Cor-Ten siding, for fire-resistant construction, proving that this material can be cool and sophisticated when combined with shou sugi ban timber. In Bali, a tiny prefabricated home, the Tetra Pod, is constructed from recycled Tetra Pak cartons, leveraging the material's reflective qualities to blend seamlessly with its natural surroundings. A London renovation features metal decking as an exposed ceiling in a garden house, creating an articulated surface with linear ‘vaults’ or ‘waves’ that move beyond traditional gypsum board finishes. The article also presents a kitchen renovation utilizing colorful, high-density polyethylene (HDPE) panels, a plastic traditionally used in cutting boards, which brings a surprisingly rich and tactile quality to the cabinetry. In Hong Kong, an innovative microhousing solution, the OPod Tube House, uses 2.5-meter-diameter concrete water pipes to create experimental, low-cost living spaces. A brutalist duplex in Belgium by Studio Okami embraces exposed, textured concrete walls, balancing their roughness with a peach-colored liquid floor and using them as a backdrop for an art collection. A studio in South Africa is clad in recycled rubber shingles, a material traditionally used for roofing, showcasing its potential for exterior wall finishes. Further examples include the Cardboard Cathedral in Christchurch, New Zealand, an A-frame structure made of cardboard tubing and shipping containers that served as a symbol of recovery after an earthquake. A shipping container home in Sweden uses eight gray containers perched on a rocky site, demonstrating modular construction in challenging terrains. An award-winning English tiny home is constructed almost entirely from reconstituted waste cork, highlighting sustainable building practices. An Australian home features a facade of fiber-cement panels and timber battens, chosen for their lightweight properties, low cost, and ease of installation. Finally, a UK farmhouse incorporates hemp grown in surrounding fields into its exterior cladding and insulation, underscoring local and eco-friendly material sourcing. Another project in the Netherlands utilizes repurposed cable reels for its facade, demonstrating a commitment to recycling and unique aesthetic expression. Collectively, these projects illustrate that beauty in design is not limited by conventional materials but can be found through creative application and an appreciation for the inherent qualities of diverse resources. #UnconventionalMaterials #SustainableDesign #ArchitecturalInnovation #MaterialReuse #ModernArchitecture #InteriorDesign #RecycledMaterials #DesignChallenge #EcoFriendlyBuilding