Lualdi's design process opens up "creative possibilities with materials and textures"

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 interior design landscape is currently undergoing a significant shift from the previously dominant minimalist aesthetic of bright white walls, beige accents, and sparse decor. A new trend, dubbed "Dark Glamour" by Benjamin Moore, is emerging, characterized by deep, moody hues, rich jewel tones, dusky neutrals, and metallic accents, often with a gothic undertone. This shift emphasizes creating spaces with more color and emotional depth, moving away from a strictly neutral palette. Local interior designers are embracing this change, offering insights into successfully integrating these richer palettes into home environments. Tammie Ladd, owner of Tammie Ladd Design, highlights the importance of incorporating living elements like plants to prevent dark spaces from feeling too heavy. She also stresses the significance of contrast, drawing parallels to black-and-white photography, where a balance between light and dark elements—such as a dark floor with white walls or dark cabinetry with lighter hardware—creates visual interest and energy. Ladd illustrates this by describing a home study she designed with midnight blue walls contrasted by an untouched warm-toned wood ceiling, noting the complementary energy between blue and orange tones. Kasey Dobbins of Foxwood Design Co. shares a similar perspective, suggesting that for those hesitant to paint entire walls dark, painting the ceiling can be an effective alternative. She advises against an all-black-and-white scheme, preferring rooms within a mid-tone range for a more inviting feel. Dobbins encourages homeowners to select colors they are inherently drawn to, suggesting that personal comfort and preference should guide color choices, allowing homes to reflect individual personalities. Lighting plays a crucial role in these richly colored spaces. Ladd acknowledges the contribution of lighting specialists, emphasizing that strategic lighting can transform a dark room. Dobbins advocates for a layered lighting approach, combining various sources such as can lights, ambient sconces, and table lamps to create depth and warmth. She also provides practical advice for naturally low-light areas like basements, recommending medium-tone colors over very dark or stark white options, as white can make such spaces feel institutional. Beyond color and light, texture is another essential element for enhancing moody interiors. Ladd favors velvet for its calming properties and visual interest, while Dobbins is drawn to nubby bouclé fabric. Other textural elements like woven shades, sisal rugs, and waffle weave blankets can also enrich dark spaces. The article notes that even sheepskin throws, when used judiciously, can contribute to this textural complexity. Grasscloth wall coverings, reinvented with contemporary colors, are also recommended for adding a sophisticated textural layer. For luminous touches, natural stone, mirrored materials, and metals are suggested, particularly to complement candlelight. This trend towards rich colors and textures is seen as a corrective response to the previous monochromatic design extreme, aiming to reintroduce warmth and energy into living spaces, offering numerous options for homeowners to create refreshingly moody and personalized interiors. #InteriorDesign #DarkGlamour #ColorTrends #HomeDecor #TexturalElements #LightingDesign #MoodPalette #DesignTips #SpokaneDesigners

Material selection is a critical yet complex aspect of interior design, requiring designers to consider aesthetics, durability, sustainability, and cost. Technical constraints, if discovered late in the design process, can lead to costly changes. To address this, a study explores the integration of generative AI tools, specifically ChatGPT and DALLE-2, into the conceptualization stage of interior design to aid in 3D texturing and material selection. The research involved developing a prototype web application that mimics common 3D modeling software interfaces. This prototype uses DALLE-2 to generate texture maps from text prompts and ChatGPT to provide contextual material and color suggestions. The system does not use fine-tuned models but relies on prompt engineering to leverage the capabilities of these large-scale generative AI models. The Material Generator module allows designers to input material names to create various texture maps, including variations and keyword-based refinements. The Suggestion Chatbot offers material and color palette suggestions based on user queries, incorporating details on properties and reasons for suggestion. It can also integrate web search results for current trends and consider a design brief for contextual relevance. An exploratory user study was conducted with 11 participants (six professional designers and five interior design students) who were tasked with texturing an untextured outdoor patio according to a design brief. The choice of an outdoor patio highlighted the need for careful material selection due to environmental considerations. The study aimed to assess how generative AI benefits designers in texturing and material selection and to understand their interaction patterns with these tools. Task load was measured using the NASA Task Load Index (NASA-TLX), and creativity support was assessed with the Creativity Support Index (CSI). The results indicated a moderate task load, with an average NASA-TLX score of 47.26 out of 100. Professionals experienced higher mental demand, while students reported higher frustration. Participants generally found the system provided moderately high creativity support, with an average CSI score of 72.82 out of 100. High scores were noted for enjoyment and exploration, suggesting that the system effectively helped designers discover different materials and textures. However, expressiveness and immersion scores were moderate, indicating room for improvement in aligning the tools with designers' intuitive expression and enhancing user engagement. Qualitative feedback revealed several benefits: designers found it easy to search for specific textures and materials, saving time compared to traditional search methods. The contextual suggestions from the chatbot, especially when integrated with the design brief, were deemed accurate and helpful. Informative material descriptions aided ideation, particularly for students. Designers also appreciated the ability to explore an infinite array of texture maps and material options, overcoming limitations of predefined material libraries. Challenges included the system's slow response time, which impacted workflow and user satisfaction, and the lack of essential 3D features (like adjusting objects and lighting) due to the prototype's standalone nature. Concerns about the chatbot's credibility and its knowledge cutoff for current trends were also raised. Some designers struggled with using text-based input for visual tasks, preferring image-based selection. Mismatches between suggested material descriptions and their accompanying texture maps were also noted. Interaction patterns showed two primary approaches: some designers heavily used the Material Generator for exploration, experimentation, and refinement through keywords, often involving a trial-and-error process. Others adopted an assisted creativity approach, frequently consulting the Suggestion Chatbot for suitable materials and colors, then using the Material Generator to explore texture variations. Designers also considered lighting and color themes, frequently rendering scenes to visualize material appearance under different lighting conditions. The study concludes with suggestions for future improvements, including fine-tuning AI models with domain-specific datasets, enhancing usability, and expanding the scope to include other design elements like furnishings and lighting setups. #GenerativeAI #HumanAICocreation #MaterialSelection #3DTexturing #InteriorDesign #DALLE2 #ChatGPT #DesignWorkflow #CreativitySupport

The increasing adoption of additive manufacturing has expanded the role of 3D printing beyond industrial applications, establishing it as a versatile medium in art studios and various creative fields. This technology facilitates the creation of innovative artistic, conceptual, and cultural works, and has even contributed to the digital preservation and reconstruction of historical artifacts and global heritage sites. While not always the central focus, 3D printing often serves as a crucial supporting tool, enabling designers, artists, and artisans to realize new designs and concepts. A prime example of this collaborative approach is found in the Forma Fabrica collection by industrial designer Nir Neria. This collection reinterprets the traditional porcelain vase by exploring the interplay between different materials and design processes. Neria's method integrates slip casting, a ceramic technique typically used for complex shapes that traditionally relies on plaster molds. However, Neria has modernized this ancient technique by combining it with 3D printing and textiles, resulting in a novel, sustainable, and reusable molding process. The design process begins with computer-aided design (CAD) software, where the vase is rendered in 3D. This digital stage allows for precise definition of each mold component and how they will interlock. Subsequently, these mold components are 3D printed. These printed parts are then integrated with fabric, which the artist sews together. The assembled fabric and 3D-printed elements form the mold, ready for porcelain slip casting. During casting, liquid porcelain is poured into the mold and then drained after a sufficient layer has adhered to the inner fabric walls. Once the porcelain reaches the desired firmness, the mold can be disassembled, and the piece is prepared for firing in a kiln. The use of fabric as a molding material imbues the finished vases with distinctive visual and tactile qualities. The impressions of the cloth's texture, stitching, and folds are visibly transferred to the surface of the vessels, creating an intriguing contrast between the perceived weight and malleability of the material. Furthermore, the application of pigments to the inner fabrics before casting introduces an additional dimension, infusing color that mimics marbling or even denim patterns. A significant advantage of this method is the reusability of the mold. The modular nature of the 3D-printed support structure also allows for extensive customization, enabling the creation of numerous unique shapes and configurations from a relatively small set of initial components. The Forma Fabrica collection exemplifies Nir Neria's commitment to innovative design, with 3D printing and sustainable biomaterials increasingly central to his work. #3DPrinting #AdditiveManufacturing #VaseDesign #CeramicArt #SlipCasting #IndustrialDesign #SustainableDesign #TextileIntegration #NirNeria

Dezeen Showroom has unveiled 14 new products this week, featuring a diverse range of furniture, lighting, and finishes for both commercial and residential projects. Among the highlights is the "Technicolour" textile collection by graphic designer Peter Saville for Danish brand Kvadrat. This collection draws inspiration from the colorful sprays used by farmers to mark sheep, translating this rustic aesthetic into a series of vibrant handwoven and robot-tufted rugs with color spots, iridescent curtains, and upholstery made from British sheep's wool. Saville describes the collection as bringing "the industry of the land, in raw form, into the living environment," likening it to "rural graffiti." Other notable product additions include the "Mouro" lamp, designed by Patricia Perez for Case Furniture. This portable and rechargeable table lamp, suitable for indoor and outdoor use, features a disc-shaped LED light that rotates 360 degrees, enclosed within a rectangular frame that doubles as a handle. Rainlight's "Phlox" collection for Okamura offers a comprehensive range of seating and tables, including conference chairs, lounge chairs, high stools, and five table shapes. The collection, characterized by its gently undulating silhouettes, is inspired by the petals of the night-blooming phlox flower. For storage solutions, Bruno Rainaldi's "Ptolomeo" bookshelf for Opinion Ciatti is designed to emulate the appearance of books stacked in high piles while providing structural stability. Named after the founder of the Library of Alexandria, this stainless steel shelf is available in black, white, or Corten effect lacquered finishes. Dedar introduces two new textile collections: "The Art of Jacquard" and a "Textile wall covering collection." The Jacquard collection features ultra-thin yarns woven directly into the fabric to create rich patterns, including tropical bird motifs, nature-inspired designs, bold graphics, and abstract floral landscapes. The wall covering collection, inspired by grand tapestries, includes four patterns, such as screen-printed illustrations on linen and classic weaves of jute and linen, aimed at creating a cozy atmosphere. The "Hymn" lamp by Hiroto Yoshizoe for Ambientec is another portable and durable lighting option for indoor and outdoor settings. It employs two magnets to create constant oscillations, producing a flickering effect reminiscent of a candle flame. GamFratesi's "Beetle Chair," available through Suite NY, has been re-released with four new upholstery options in neutral shades, alongside black or brass leg finishes. John Pawson's "Frame" dining table for Nikari, originally designed for his own farmhouse, is a minimalist piece made from responsibly sourced ash or oak wood with a natural oil finish, boasting a lifespan of over 100 years. Alegre Design's "Talent" desk for Actiu is a versatile, mobile, and height-adjustable workstation designed for educational and training environments, featuring a dry-erase worktop that functions as a whiteboard when folded. Finishes also see new additions with CDUK's expanded "Corian Solid Surface" range, now available in a broader spectrum of neutral and warm colors. This material is lauded for its hygienic, durable, abrasion-resistant, and fade-proof qualities, making it suitable for both commercial and residential applications. Forbo Flooring Systems introduces "Marmoleum Linear," a carbon-neutral, plant-based linoleum flooring made from linseed oil, waste wood flour, and jute, designed to mimic wood with irregular grey and neutral stripes. ADEX presents the "Habitat" tile collection, a sustainable ceramic option for interior walls made with 55 percent white-body ceramics for enhanced durability. Lastly, Decocer's "Crag" tiles offer a family of porcelain tiles that replicate the look of stone and weathered steel, suitable for indoor and outdoor walls and floors, characterized by an industrial aesthetic and textured matte finish. #ProductLaunch #InteriorDesign #FurnitureDesign #TextileDesign #LightingDesign #SustainableMaterials #DesignInnovation #HomeDecor #WorkplaceSolutions

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

Lualdi, an Italian brand, offers a highly customizable vertical system called Wall & Door that combines modular panels and doors, allowing for the creation of homogeneous surfaces that seamlessly integrate into existing interior environments. This system aims to redefine the traditional door by offering solutions that adapt to complex architectural requirements, merging advanced industrial production techniques with traditional artisan carpentry. Lualdi emphasizes its ability to craft custom-made pieces that align with architects' design needs. The company highlights how certain door models, developed in collaboration with architects for specific projects, have evolved beyond their initial scope to become iconic elements of Lualdi's production. These models represent a continuous journey of research, experimentation, and technological and formal innovation. The Wall & Door system serves as a testament to this philosophy, providing a versatile framework for interior design. An example of the system's application is seen in a private residence in Milan. For this project, the Wall & Door collection was utilized to design walnut paneling strips that visually connect the living area with the hallway leading to the bedroom. An integrated door, crafted from the same paneling and featuring a slim 55-millimeter thickness, was installed flush with the wall and equipped with a hidden touch handle. This design choice imparts a classic aesthetic to the contemporary apartment, harmonizing with the 19th-century building's historic character. Lualdi characterizes the Wall & Door system as a "white canvas," offering extensive customization possibilities. It can be finished with lacquer, or clad in various materials such as wood, leathers, fabrics, metals, or wooden slats, depending on the architect's and client's preferences. The company also provides comprehensive support, guiding architects through their projects from initial conception to the final implementation of the system. Another notable project involved furnishing a private residence in Qingdao, China, where Lualdi supplied over 1,000 square meters of doors and paneling, along with suspended ceilings and partition systems for all rooms. This demonstrates the system's capacity to handle large-scale and diverse applications. The Wall & Door system enables designers to utilize the entire height of a wall, effectively concealing or revealing different aspects of rooms, and offering intelligent solutions for wardrobes and partitions, thereby enhancing both functionality and aesthetic coherence within interior spaces. #InteriorDesign #ArchitecturalSystems #CustomizableDesign #Lualdi #WallPanels #IntegratedDoors #MilanResidence #QingdaoProject #DesignInnovation

This article introduces Shadé Akanbi, a Brooklyn-based freelance pattern designer and the Creative Director and Designer behind Printed Pattern People. Akanbi's design philosophy is rooted in her multicultural upbringing, which has instilled in her a passion for creating global fusion lifestyle and brands. Her work involves translating traditional ethnic patterns and textiles into contemporary interpretations suitable for everyday use. Akanbi's creative process often begins with identifying a specific motif or detail from traditional textiles. This chosen element then serves as the central inspiration, around which she constructs new patterns using fresh colors and additional details. She is prolific in her output, creating between one to six prints daily, drawing inspiration from personal collections, client ideas, or a combination of both. Akanbi is known for her collaborations with various brands, in addition to maintaining her extensive collection of global textiles. Her first major collaboration was with Anthropologie in early 2020, where her artwork was featured in an accessories and sleepwear collection. Since then, she has partnered with notable brands such as Intermix, Zuri, S'well, Chasing Paper, Netflix, and Target. Her most recent collaboration at the time of the article's publication was with Bounty Paper Towels, as part of their Inclusive Artists Project initiative. This partnership involved her artwork being featured on the Bounty Prints collection paper towels and her image appearing on the packaging, an experience she described as surreal due to the widespread nature of the household item. The article highlights Akanbi's ambition and future aspirations. As an avid traveler, she expresses a desire to collaborate with airlines and boutique hotel brands, specifically mentioning Delta, Jetblue, Kimpton, and Hyatt, envisioning these as platforms to showcase diverse art mediums. Her interest extends to athletic footwear brands like Nike, Adidas, Puma, and Vans, reflecting her passion as a sneaker collector. Furthermore, her background as a collegiate basketball player and a fan of the NBA/WNBA drives her dream to work with her favorite sports teams. Ultimately, Akanbi seeks to partner with brands with which she shares strong personal connections, aiming to utilize these collaborations as unique avenues for artistic expression. Her personal history significantly influences her artistic vision. Akanbi recounts how her upbringing, from her mother's styling choices to her father's Nigerian cooking, and her early travels, particularly her first trip to Nigeria, profoundly shaped her as an artist. These diverse experiences, encompassing sights, sounds, textures, tastes, and emotions, have cumulatively impacted her design sensibility. Her ability to blend cultural influences and her innovative approach to pattern design underscore her unique position in the design world. The article concludes by encouraging readers to explore more of Shadé Akanbi's work via her Instagram and mentions a past collaboration where she provided a Designer Desktop wallpaper for Design Milk. #PatternDesign #ShadeAkanbi #TextileArt #CulturalFusion #BrandCollaborations #ArtisticProcess #DesignInspiration #GlobalTextiles #CreativeDirector

Aurelie Tu, founder of Craftedsystems, bridges her background in industrial design, specifically in consumer electronics, with her current focus on soft, felted products. After a career designing technological devices for companies like Nike, where she developed wearable electronic products, Tu felt a disconnect from natural and tactile materials. This led her to establish Craftedsystems as an experimental venture with an alternative business model that prioritizes design, handwork, and community involvement. Craftedsystems distinguishes itself by creating a weaving system that is accessible to individuals without specialized skills, fostering group participation. The production model offers incentive-driven wages, paid per piece, encouraging weavers to increase their output as their skills improve. Tu collaborates with local organizations in Portland, such as the YWCA and P:EAR, which supports homeless youth, using the handweaving process as a therapeutic and empowering activity. This approach contrasts with traditional craftwork sales or the appropriation of ethnic cultures' work. Tu's innovative interlocking patterns for Craftedsystems originated from a desire to merge technological and design innovation with handcraft. The initial products, made from felt, utilize a simple system of slots and tongues, allowing the material to interlock without the need for stitching or mechanical fasteners. A distinctive feature is that the internal structure, often hidden in traditional designs, becomes the visual identity of the product line. The design process is iterative, involving the creation and refinement of geometries and patterns to achieve simple production and aesthetic appeal. Felt was chosen as the primary material due to its organic qualities and historical significance as humanity's first textile. Its inherent thickness and solidity appealed to Tu, offering both structural integrity and flexibility, which made it suitable for vessels and voids. The tactile nature of her work, inviting interaction and exploration of how the pieces fit together, is a deliberate outcome of her intention to integrate handcraft as a core design element, producing items that machines cannot replicate. Tu's personal style, which blends modern design, innovation, and technology with an appreciation for materials, textures, crisp geometries, and organic forms, is reflected in Craftedsystems. Her inspiration largely stems from extensive travel, which she considers crucial for expanding creative perspectives by exposing her to diverse ideas and philosophies. While her patterns are primarily geometric and elemental, possibly referencing modern design or natural sequences like the Fibonacci series, they are not tied to specific cultural roots. Her favorite piece is the Asira series, produced by Ligne Roset, which has adapted its production to use waste materials and employ individuals with disabilities for handweaving. Currently, Tu is developing wall hangings and vessels for Room & Board and exploring material hybridization for future projects, seeking new collaborations. #AurelieTu #Craftedsystems #IndustrialDesign #FeltProducts #Handcraft #CommunityEngagement #SustainableDesign #TextileInnovation #ModernDesign #InteriorDecor

The design industry is anticipating a shift towards more tactile and textured surfaces in 2023, moving beyond purely hygienic considerations to embrace elements that promote warmth and wellbeing. Sustainability continues to be a foundational aspect of design, influencing material choices and production methods across various product categories. This emerging focus is evident in several innovative surface design trends that emphasize sensory engagement and environmental responsibility. One significant trend is the use of three-dimensional cork wall tiles, exemplified by Granorte’s 3DForms collection. These modular tiles, designed by Alzira Peixoto and Carlos Mendonca of SimpleFormsDesign, are crafted entirely from 100 percent post-industrial recycled cork, highlighting both sustainability and a unique natural aesthetic. Their geometric designs allow for bespoke textures on vertical surfaces, inviting touch and visual interest. Another trend involves natural fiber wallcoverings, as seen in Arte’s Osmanthus Collection. This collection draws inspiration from the Far East, utilizing sophisticated embroidery techniques and materials like sisal, cotton, and hemp. Designs such as Kudzu, made from climbing kudzu plant fibers, and Sambe, crafted from hemp fibers with contrasting black yarns, showcase irregular thicknesses and natural variations, offering authentic and pure textures that connect to nature. Moving to more opulent materials, gold mosaic tiles from TREND Group demonstrate a timeless appeal. These mosaics, produced using artisanal methods developed in Venice in 1888, incorporate 24kt yellow gold to create rich, luxurious surfaces. Their textured designs add depth and dynamism, proving that gold, with its historical significance and durability, aligns with both aesthetic and longevity aspects of sustainable design. Atlas Concorde’s 3D wall tiles introduce plastic, three-dimensional expressions of bas-reliefs and sculptures into interior design. These tiles create scenic walls that are dynamic, with light interacting to change their appearance throughout the day. Available in various colors and textures, these surfaces invite tactile exploration, ranging from geometric precision to soft, sinuous sensations, while minimizing joint visibility for a more uniform look. Biomaterials are also making a significant impact, with Mogu Acoustic panels leading the way. Italian-based Mogu utilizes mycelium-based technologies to create interior design products from mycelium and upcycled bio-based materials. These panels are 100 percent biodegradable and bio-based, transforming textile industry residues into functional and aesthetically pleasing acoustic solutions through the action of selected microorganisms. Finally, Foresso’s timber terrazzo offers an innovative approach to sustainable surfacing. This product is made from waste wood sourced from British trees, with offcuts and wood dust combined to create a warm, organic reimagining of classic terrazzo. Hand-finished in Birmingham, Foresso emphasizes a circular design process, marrying environmental ethics with a high-quality, professional finish. These trends collectively underscore a renewed appreciation for sensory experiences, sustainable practices, and innovative material applications in surface design for 2023. #SensoryDesign #SurfaceTrends #SustainableMaterials #TactileSurfaces #CorkDesign #NaturalWallcoverings #LuxuryMosaics #Biomaterials #TimberTerrazzo

This article highlights 15 emerging talents in product design who are making significant contributions to the industry. These designers and studios showcase innovation across various materials, techniques, and product categories, ranging from home furnishings to decorative objects. Lucie Roy, a member of the Kaléidosco collective in France, specializes in float-glass wall tiles. Her Blue Lands tiles manipulate translucency and opacity with aqueous hues, achieved through multiple enamels and three firing processes, and finished with subtle gold details. Bond Hardware, founded by Dana Hurwitz and Mariah Pershadsingh, originally known for jewelry made from scrap metal, has expanded its offerings to include home furniture. Ben Erickson's Erickson Aesthetics presents the "Halo Drippp," a product that integrates a rainbow spectrum into a fundamental form. Soft Geometry, led by Palaash Chaudhary and Utharaa Zacharias, focuses on shapes and references dessert in their new collection. Asa Pingree, drawing inspiration from his boat-building apprenticeship, explores fiberglass in his Brooklyn workshop, evident in his experimental stool designs. Jude Heslin Di Leo, inspired by feng shui principles, created "Amplifier," a 15-inch-high table crafted from pure quartz crystal, intended to enhance natural energy. Sasha Burchuk, founder of New Age Design Studio, reinterprets the ancient terrazzo technique for cement tiles and candleholders, utilizing ethically sourced precious and semiprecious stones in her "Gemstone Terrazzo" and "Ziv" lines. Marie Schumann, a Swiss designer, creates vibrant tapestries called "Softspace #5" and "Softspace #6." These textiles feature haptic fringing and draped threads, woven from materials like Lurex, Trevira CS, or cotton on an industrial jacquard loom and distributed through OKRO. Henri Judin’s "Liquorice" shelves, available vertically or horizontally, are crafted from black rods of bent and powder-coated steel by Lankapaja metalsmith, evoking the candy they are named after and sold through Young Finnish Design. Felicia Arvid, a former fashion designer, introduces "Addéra," a reconfigurable daybed. Its wool-covered cushions, armrests, backrests, and painted-birch tablet can be rearranged to slot into a tubular-steel base. Emiliana Gonzalez and Jessie Young, founders of Estudio Persona, launched "Flecha," an angled side table made of mahogany-veneered plywood, coinciding with the opening of their Los Angeles showroom. Virginia Valentini and Francesco Breganze of LatoxLato designed "Aracne," a coffee table with a 40-inch-diameter glass top supported by eight legs in light oak or dark walnut, noted for its innovative structure. Brecht Wright Gander of Birnam Wood Studio collaborated with jeweler Suna Bonometti on "Brutiful U&I," a cocktail table inspired by Carlo Scarpa’s Brion Cemetery, made from Valchromat wood-fiber visible through an acrylic top. Kyle Comeaux, founder of Komolab, offers "Walden," a dog bed featuring a walnut or white oak base topped with a removable wool-upholstered cushion and a waterproof liner. Finally, Daria Belyakova designed "Paspartu," an armchair described as an "inhabitable sculpture." It is made from chromed, molded fiberglass with wool upholstery and is supported by a nearly invisible glass stand, available through Palisander Gallery. These designers represent a diverse range of styles, materials, and functional applications within contemporary product design. #ProductDesign #RisingStars #InteriorDesign #FurnitureDesign #HomeDecor #TextileDesign #GlassArt #ContemporaryDesign

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

The Random collection by Lodes, designed by Chia-Ying Lee, transforms lighting into an exercise of compositional freedom, offering a modular system to enhance various spaces. The concept behind this collection emphasizes light's role in shaping space, engaging with surfaces and materials, and redefining the perception of form and volume. This approach allows architects and designers to craft bespoke lighting configurations that complement furnishings, colors, and interior details. Central to the Random collection is Lodes’ "Standard Bespoke" philosophy, which involves a system of standardized elements that can be reconfigured to create original and dynamic lighting layouts. This philosophy allows for tailored compositions where the position, finish, and number of lights are integral to the design process. The collection is characterized by essential components: blown-glass spheres and ceiling canopies connected by thin metal cables, providing a flexible tool for designers in both residential and commercial settings. The evolution of the Random collection began with a collaboration with Taiwanese designer Chia-Ying Lee, initially featuring a composition of three spherical diffusers of varying sizes. This initial design has since expanded to include new expressive possibilities. Random Solo, for instance, offers single pendants or multiple compositions that form dynamic light constellations. Random Stick reinterprets the design along a horizontal axis, transforming light into an architectural element. Random Cloud groups transparent spheres to create an ethereal, floating effect, adding to the collection's versatility. The modularity of the system enables designers to combine lamps and ceiling canopies freely, resulting in custom compositions and tailored lighting solutions. This aligns with Lodes’ "Out of Scale" philosophy, which extends the bespoke approach to large-scale installations and immersive lighting solutions. These designs are intended for spaces requiring significant aesthetic and emotional impact, offering a platform for extensive personalization. Beyond aesthetics, Lodes provides continuous technical support to professionals, assisting them in optimizing performance and enhancing spaces through light. The brand is committed to developing the Random collection further, with plans to introduce an updated color palette. This expansion aims to align the collection with contemporary design languages, enriching its character while maintaining its core identity as a versatile and customizable lighting solution. #LightingDesign #LodesRandomCollection #ModularLighting #InteriorDesign #BespokeLighting #ArchitecturalLighting #HomeLighting #DesignInnovation #ChiaYingLee

The article discusses the launch of Weft, an innovative online platform aiming to revolutionize the woven fabrics industry. Developed by Brooks Hagan, an associate professor of textiles at RISD, and Steve Marschner, a computer science professor at Cornell, Weft provides direct access to manufacturing for custom woven fabric orders, starting from as low as three yards. This platform distinguishes itself from surface-printed fabric providers by focusing on true woven designs, offering a unique service in the market. The project received research support from the National Science Foundation and a Small Business Innovation Research grant, highlighting its technological and entrepreneurial significance. Weft empowers users to personalize their fabric designs by allowing them to select colors, weave structures, and quality parameters, as well as define repeat sizes. This level of customization is particularly beneficial for independent designers working on smaller-scale projects, enabling them to create unique textiles without the high minimum order quantities typically associated with custom manufacturing. Users of the Weft platform have the flexibility to upload their own designs or photographs, integrating personal artistic vision into their fabric creations. Alternatively, they can customize existing designs available on the site. Beyond custom design, Weft also features a curated selection of limited-edition textile designs created by various artists. The article names Stephanie Pender, Kevin Zucker, Julia Dault, John Caserta, and Julian Kreimer as some of the collaborating artists, emphasizing the platform's commitment to artistic diversity. Hagan explains that the selection of artists from diverse fields was a deliberate choice to demonstrate the software's accessibility and utility to a wide range of creative individuals, regardless of their background. This approach aims to democratize access to custom fabric production, making it available to more designers and artists. In addition to custom orders, Weft operates an online shop offering ready-made woven jacquard fabrics. These fabrics are manufactured in the U.S. and include open-source options, further promoting customization. The versatility of these fabrics makes them suitable for various applications, including upholstery, drapery, and apparel, catering to a broad spectrum of interior design and fashion needs. Weft ensures efficiency by fulfilling custom fabric orders through its network of partner mills, boasting a quick turnaround time of as little as three weeks. This rapid production cycle is a significant advantage for designers and businesses seeking timely delivery of specialized materials. #WovenFabrics #CustomDesign #TextileIndustry #RISDInnovation #DigitalLoom #ManufacturingAccess #IndependentDesigners #ArtisticCollaboration

Gilles de Brock, a graphic designer based in Antwerp and Amsterdam, has embarked on an unconventional journey, transitioning from traditional graphic design to becoming a multi-faceted creative who also works as a ceramicist, rug maker, engineer, and electrician. This article details his latest endeavor: building a computer numerical control (CNC) ceramic printer capable of applying graphic glazes to ceramic tiles. This project follows his previous success in automating the design process through a machine that printed acrylic paint on paper and textiles, a venture he described as a metaphor for reclaiming the production process and democratizing automation tools. His earlier printer was envisioned to evolve into a five-head system for ceramic tiles, a goal he has now achieved. De Brock's CNC ceramic printer represents a modern reinterpretation of an ancient craft, blending the aesthetic of handmade items with the precision of mathematical machine processes. The development of this machine was a complex undertaking, presenting numerous frustrations and challenges, particularly given his background as a graphic designer with limited initial knowledge of ceramic glazing or CNC mechanics. He highlights the unusual nature of a graphic designer building such a machine, emphasizing his desire to imbue ceramic glazes with authenticity and depth while translating them into a graphic form. The resulting ceramic tile compositions successfully merge the physical qualities of ceramics with the structured order of graphic design. Color has always been central to De Brock's practice, and the vibrancy of ceramic glazes was a natural progression from his earlier work with richly dyed rug fabrics. His exploration into the chemical aspects of oxides, color mixing, and staining for his ceramic tiles showcases years of dedication to color assessment and technical experimentation. The most significant hurdles during the CNC development involved debugging system glitches, an area where De Brock initially possessed no expertise. He reflects on his journey from knowing nothing about engineering and electronics to acquiring fundamental skills, which have become indispensable to his current practice. Once the machine became functional, De Brock shifted his focus from engineering to design, curating tiles into diverse compositions that each tell a unique story. The machine produces one-centimeter-thick lines, resulting in a low resolution of 70 to 100 pixels per print. This limitation, which he views as a liberation rather than a restraint, forced him to rethink his design approach, adapting his previous work to this specific aesthetic dictated by the medium. He appreciates how a tool can define an aesthetic, seeing it as a way to reduce the overwhelming possibilities of a blank canvas. De Brock's ceramic tile compositions have recently gained recognition, being exhibited at Amsterdam's Unfair art show, an unexpected outcome for a trained graphic designer. While effective in an artistic context, he primarily envisions these compositions as applied designs for interiors, potentially adorning the walls of restaurants or hotels. Looking ahead, De Brock has several projects planned, including exhibitions at Portland’s Fisk Gallery, Gallery my Monkey in France, and Le Signs in 2022. He is also collaborating with the Seoul-based Risograph printers, Corners, on a new publication featuring his ceramic tiles. #GraphicDesign #Ceramics #CNC #Automation #ProductDesign #Artisan #InteriorDesign #CreativeProcess #Technology

Daniel Lalonde, CEO of Design Holding, a prominent luxury multibrand group in the high-end interiors market, outlines his strategic vision for the company's future, focusing on making the experience of purchasing high-end interior products more accessible. Design Holding, established through Investindustrial's acquisitions of Flos (2014), B&B Italia (2015), and Louis Poulsen (2018), has expanded its portfolio to include nine brands, such as Maxalto, Azucena, Arclinea, Fendi Casa, Audo, and Lumens. This consolidation has positioned the group as a significant entity in design-led, luxury interior products, operating in over 130 countries with ten manufacturing facilities. Lalonde, who assumed the CEO role in late 2021, brings extensive experience from luxury multi-brand companies like LVMH, Louis Vuitton, Ralph Lauren, and SMCP. He acknowledges the transition from high fashion to interiors as a "leap of faith" but recognizes commonalities in heritage, craftsmanship, and the use of top designers. The company's brands collectively boast an extensive collection of works from celebrated designers, including modern classics by Achille and Pier Giacomo Castiglioni, Poul Henningsen, Arne Jacobsen, and contemporary pieces by Tobia Scarpa, Antonio Citterio, Philippe Starck, Naoto Fukasawa, Jasper Morrison, and Piero Lissoni, among others. The group also actively seeks emerging design talent. A key aspect of Lalonde's strategy involves shifting the sales model to be more consumer-centric. Historically, over half of Design Holding's business relied on wholesale channels. To address this, the company has opened a 25,000 sq ft retail center at 135 Madison Avenue in New York. Designed in part by Lissoni & Partners, this flagship store provides distinct spaces for each brand, offering a comprehensive multibrand experience. This move aims to engage architects and designers, who significantly influence furniture sales (up to 45% in the US), by providing an immersive environment for both professionals and consumers to make informed decisions. Technological advancements are also integral to the strategy, with new e-commerce platforms and a configurator app being developed for individual brands. However, Lalonde emphasizes the importance of physical interaction with products, which the Madison Avenue store facilitates. The company is also exploring other innovative showcases, such as the West Coast model home at the Mandarin Oriental Residences in Beverly Hills, which features B&B Italia products exclusively. Lalonde's role includes maintaining the distinct identity and character of each brand while fostering collaboration. He highlights the complimentary nature of the brands, noting, for example, the different design DNA between a B&B Italia sofa and a Maxalto sofa. Collaborative efforts among contract teams across brands are encouraged, especially for large projects. The group includes Italian brands (B&B Italia, Maxalto, Azucena, Flos, Arclinea, Fendi Casa), Danish brands (Louis Poulsen, Audo), and the San Francisco-based Lumens. Sustainability and ethical practices are central to Design Holding's environmental, social, and corporate governance (ESG) strategy. The company prioritizes product longevity, quality, ease of maintenance, and repairability. They also focus on sourcing sustainable and ethical supply chains, with benefits extending across all nine brands, such as sourcing wood from certified forests. The preservation of traditional manufacturing techniques and skills is also a priority, with investments in technical schools in Italy to ensure the continuity of craftspeople. The company is also targeting expansion into new markets, particularly Asia, where there is a large luxury market but a relatively nascent high-end design market. Plans are underway to open stores in China, as Design Holding aims to bring the enduring value of design to a global audience. #DesignHolding #LuxuryInteriors #FurnitureBrands #RetailStrategy #DanielLalonde #SustainableDesign #GlobalExpansion #DesignInnovation #Craftsmanship

The year 2022 showcased a remarkable array of creative and thoughtful projects from the next generation of industrial designers across various institutions worldwide. This compilation highlights some of the most innovative student works, spanning furniture design, product design, transportation design, and user-centric solutions. Each project demonstrates a unique approach to problem-solving, material exploration, and aesthetic appeal. Radhika Dhumal from the National Institute of Design, India, presented the 'Winged Table,' a piece of furniture design that is both functional and inspired by insect forms. Following this, Tianrui Xie from the Georgia Institute of Technology introduced the 'Morph Wireless Mouse,' an industrial design focused on custom fit and reduced plastic usage, showcasing an eco-conscious approach. Derel Shell's contribution from Purdue University was a modernist pen, recognized for its clean, simple, and desirable aesthetic. Carlos Platz from Kunsthochschule Kassel, Germany, innovated in furniture joinery with 'Svolta,' a method allowing rotation for secure placement. Andu Masebo from the Royal College of Art, UK, designed 'In Material Union' chairs, specifically optimized for manufacturing efficiency, reflecting a practical understanding of production processes. Mingwei Liu, also from the Royal College of Art, UK, offered a fresh perspective on transportation design with a reimagining of the Mitsubishi Lancer. Celine Wong of San Jose State University addressed accessibility with a fan-based, Muji-esque clock designed for the nearsighted. Celine Deprez from ENSCI, France, presented 'Fourche à Pain,' a non-electric toaster, emphasizing sustainability and simplicity in kitchen appliances. A collaborative effort from Fergus Davidson, Maireid Carrigg, and Maneet Singh at RMIT, Australia, resulted in a patient-moving aid, demonstrating a focus on healthcare innovation and ergonomic solutions for workers. Max Hausmann and Tim Schuetze from Berlin's University of the Arts, Germany, designed 'Vespertine,' a portable pendant lamp, combining portability with ambient lighting. From Kookmin University, South Korea, Kim Seungwoo, Kim Siwon, Kim Chanwoo, and Yoon Jonghoon developed a portable, inflatable chair, highlighting modularity and ease of transport. Amelie Van Houdenhove from Howest University, Belgium, tackled an industrial challenge with 'Twist & Turn,' a tool designed to separate stubbornly nested industrial crates, showcasing a pragmatic solution to a common problem. Alissa Wolter from Kunsthochschule Berlin, Germany, explored interactive design with the 'Moodable Lamp,' which is capable of folding and interacting with its user. Dennis Tsai from Art Center presented 'Project Isle,' a modern update to bus seating, aiming to improve public transit comfort and efficiency. Souhaïb Ghanmi from ECAL, Switzerland, explored sustainable material use with 'Elos sockets,' which find an outlet for bone waste in their design. Sandy Zhang, Jodie Xie, Alaa Alshareff, and Megan Wiles from Wentworth Institute of Technology collaborated on 'Project Timo Urban Scooter,' addressing urban mobility needs. Shay Nifusi from Shenkar College, Israel, showcased 'Monobloc Brushes,' which were manufactured experimentally, focusing on innovative production techniques. Benjamin Unterluggauer and John Hayden from Muthesius University of Fine Arts and Design, Germany, presented the '3D-Printed Mokit Connector,' highlighting advancements in additive manufacturing. Chi-Hao Chiang from Pratt Institute designed the 'Attaché Folding Stool,' emphasizing compact and portable furniture solutions. Jisan Chung from ECAL, Switzerland, addressed waste reduction with 'Roller Jet,' a paper-saving printer that utilizes rolls instead of sheets. Bronwen Rees and Bryony Wood from Nottingham Trent University, UK, designed 'Stair Cubby,' a storage solution specifically for staircases, optimizing often-underutilized space in homes. Finally, Park Hyeongwoo and Jung Jaepil from Kookmin University, South Korea, introduced 'Flip Desk,' a fast-tidying solution for workspaces, demonstrating an understanding of practical domestic and office needs. #IndustrialDesign #StudentWork #ProductDesign #FurnitureDesign #TransportationDesign #Innovation #SustainableDesign #UserExperience #MaterialExploration