A new life with composites

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

Microcement, a composite coating made from a blend of cement, water-based resins, and mineral pigments, is emerging as a practical and versatile material in home renovation. Originating from Europe, particularly popular in Greece and Spain, microcement has recently gained traction in the U.S. in the last five years. Unlike traditional concrete, microcement is significantly lighter, with each layer being approximately three-sixteenths of an inch thick, allowing it to be applied over various substrates like plywood. Its non-porous nature distinguishes it from plaster, making it resistant to staining, an advantage for surfaces like kitchen countertops and walls. Applications for microcement are extensive, ranging from floors, baseboards, fireplaces, and kitchen surfaces to built-in furniture and shower walls. Its waterproof quality, when sealed, makes it an ideal choice for bathrooms, where it can provide a rustic aesthetic, reminiscent of Mediterranean designs, without the need for grout. The material's ability to be customized in color further enhances its appeal, allowing for personalized design expressions. Suppliers like Topciment from Spain and Promix in New Jersey offer various types of microcement, catering to different functional and decorative needs, including options robust enough for swimming pool floors. While microcement offers numerous benefits, its application is a meticulous process that typically requires professional expertise. Each layer demands 24 hours to cure and dry before the subsequent one can be applied, and skilled trowel work is essential for a smooth finish. This complexity suggests that DIY application may not be suitable for most homeowners. For instances where microcement is integrated with custom elements, such as cabinet doors, it is layered directly onto existing frames, with cabinet fronts then made to fit the created niches. Despite its resilience, microcement, like any surface material, can show minor wear, such as nicks and stains, in high-traffic areas over time. However, its overall durability and hygienic properties—due to the absence of grout lines—are significant advantages. Homeowners who have used microcement report that it maintains a warmer feel than polished concrete or lime plaster, contributing to an inviting and spa-like atmosphere. The material's practicality, aesthetic versatility, and low maintenance requirements position it as a noteworthy option for modern home renovations, offering a blend of durability and sophisticated design. #Microcement #HomeRenovation #InteriorDesign #BuildingMaterials #KitchenDesign #BathroomDesign #MaterialInnovation #DesignTrends #HomeImprovement

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

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

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

Bambooder, a Dutch startup founded in 2014 by Marc Bokeloh and Dr.Ir.Ing. Almer van der Stoel, has developed a patented technology for mechanically extracting long bamboo fibers. The company focuses on creating bio-based alternatives to traditional fossil fuel-produced composites. Their primary offerings include technical yarns made from long bamboo fibers, ranging from 12 to 50 cm, suitable for continuous fiber 3D printing, unidirectional (UD) tapes, and textiles. All by-products from this process are utilized to produce short fibers, which find application in non-woven mats, injection molding compounds, and 3D printing filaments. Bamboo offers several advantages as a material. It is lightweight, strong, and highly sustainable, exhibiting faster growth and greater CO2 absorption compared to other plants. This rapid growth also results in a significantly higher fiber yield than other natural fibers, positioning bamboo as a viable competitor to materials such as steel, aluminum, carbon, glass, and other natural fibers, depending on the specific property requirements. The applications of these long bamboo fibers are diverse. Short fiber filaments combined with PLA can be used for 3D printing decorative objects. Bamboo cork sandwich panels, which consist of two outer layers of non-woven short fiber mats and an inner cork layer, provide heat insulation, sound absorption, and electric insulation. Mats made from short bamboo fibers serve as a sustainable substitute for non-woven glass fiber mats and can be incorporated using techniques like hand lamination, thermoforming, and vacuum infusion. Long bamboo fibers are processed into technical yarn for use in continuous fiber 3D printing filaments, UD tapes, and textiles, offering a sustainable alternative to carbon and glass fibers. UD tapes are particularly valuable for their ability to provide stiffness in a single direction, allowing for precise control over product stiffness by stacking tapes in different orientations. This enables the creation of components that can withstand greater loads with thinner walls and without additional ribs. These bamboo-based products have potential across various industries, including transportation (e.g., lightweight elements in trains, trams, metro cars, and buses), sports (e.g., surfboards, skateboards, skis, bikes), energy, as well as automotive, aeronautics, furniture, and lighting design sectors. While Bambooder’s materials offer versatility and sustainability, they do have certain limitations. Their moderate resistance to UV radiation, scratches, chemicals, and weathering makes them less ideal for outdoor applications or situations involving significant chemical or mechanical stress. Despite these specific limitations, the broad applicability and sustainable benefits of Bambooder’s bamboo fiber composites present a significant advancement in material science and design. #BambooFibers #SustainableMaterials #BiobasedComposites #InnovativeMaterials #3DPrinting #MaterialScience #GreenTechnology #CircularEconomy

French architect Clarisse Merlet, through her studio FabBRICK, is demonstrating the significant potential of recycling textile waste into viable construction materials. Originating from a school project, Merlet's initiative addresses the substantial pollution generated by the construction and fashion industries. The fashion industry alone contributes millions of tons of textile waste annually in Europe, with a considerable portion remaining uncollected. FabBRICK aims to transform this discarded textile into insulating, structural, and aesthetic building bricks, which can then be used to create furniture or partition walls. The development process involved extensive experimentation to refine the technique. Initially, discarded textiles are sorted by color, responding to customer preferences as FabBRICK avoids dyeing its bricks, instead deriving color from the source materials. The textile is then shredded into fibers of varying lengths (7mm, 20mm, or 40mm) depending on the project's requirements. A crucial element of the process is the proprietary, 100% ecological binding agent, developed with an engineer, which transforms the textile fibers into a clay-like consistency. This binding agent was specifically formulated to be rot-proof and mold-resistant, overcoming a significant challenge in using organic waste for construction. The mixture of fibers and glue is carefully weighed to ensure consistent density before being manually loaded into a patented machine. This machine compresses the mixture into brick form over approximately 30 minutes. The bricks then undergo a natural drying process in ambient air for 10 to 15 days. Once cured, these bricks exhibit impressive characteristics, including mechanical resistance comparable to concrete blocks, good acoustic and thermal insulation properties, and satisfactory fire resistance. While they possess good water resistance, indoor use is currently recommended. FabBRICK's business model emphasizes local production, with all ingredients and machinery sourced locally in France. This commitment to proximity is a core value, aiming to foster local manufacturing and reduce environmental impact. Despite its local focus, the studio has a global vision, recognizing the ubiquitous nature of fast fashion waste. The long-term plan involves automating the production process to increase recycling capacity and replicating the FabBRICK Factory model first within France and then internationally. This expansion strategy seeks to establish local production units globally, situated close to sources of textile waste, thereby promoting sustainable construction practices worldwide. #SustainableDesign #InnovativeMaterials #TextileRecycling #EcoFriendlyConstruction #CircularEconomy #ArchitecturalInnovation #LocalProduction #FabBRICK

This article explores six sustainable and innovative alternatives to traditional wood for home renovation and DIY projects. As an increasing number of homeowners and DIY enthusiasts seek eco-friendly and high-performance materials, these wood substitutes offer unique benefits in various applications. The article details the composition, advantages, and ideal uses for each material, providing a comprehensive guide for those considering alternatives to conventional lumber. The first substitute presented is rice hull wall cladding and decking, exemplified by products like Acre from Modern Mill. Unlike many plastic composites, Acre is primarily made from rice hulls, exhibiting a performance closer to wood. It produces sawdust similar to wood when cut, avoiding the common issue of sticky, statically charged plastic composite dust. Acre is notably water-resistant, stain-resistant, pest-resistant, and guaranteed against rot or cracking, accepting paint and stain exceptionally well. Its applications include decking, siding, and millwork. Next, bamboo lumber is highlighted for its natural resistance to insects and rot, coupled with its rapid growth and sustainability. Brands like Moso offer bamboo decking, siding, square stock lumber, 2x beams, and tongue-and-groove boards suitable for porch flooring, soffits, and fences. Moso's Bamboo Outdoor Thermo boasts a Class A fire rating and performance comparable to exotic hardwoods, while Bamboo Outdoor N-Durance is akin to IPE and Cumaru. Paper wall studs, developed by Wood Tube, represent another innovative alternative. Made from recycled paper, these studs are designed for non-load-bearing walls, aiming to reduce the construction industry's environmental impact. They are lightweight, easy to cut with standard tools, and can be installed with conventional fasteners for walls up to 13 feet tall. A crucial consideration is that paper studs must be kept dry and protected from water contact. Wood composite siding and decking are discussed as evolving alternatives. Modern composites, such as those from Millboard, are molded from real oak boards to mimic the appearance and texture of natural wood. These materials combine polyurethane with a polymer resin core reinforced with fiberglass for strength and stability. The top layer, made from a pliable material similar to shoe soles, offers resistance to scratches and stains. Being non-porous, rot-resistant, and lighter than wood, these composites are suitable for shower walls, tub surrounds, backsplashes, pool decks, and outdoor furniture. Hemp-based products, including trim, cabinets, and flooring, are introduced as sustainable options. HempWood, made from fiber hemp stalks and a soy-based adhesive, is an engineered non-structural hardwood. It is designed for interior applications like flooring, cabinets, counters, trim, and furniture, offering hardness 20 percent greater than hickory. As a USDA-Certified BioBased Product, HempWood contributes to carbon sequestration, storing 1 pound of carbon for every 2 feet of flooring. Finally, cork is presented as a renewable and biodegradable wood substitute for walls and floors. Derived from the outer bark of oak trees, cork insulation panels like Thermacork's offer an R-4 per inch rating for exterior applications. For interiors, brands such as Cancork provide wood-grain cork flooring options, digitally printed for aesthetic appeal, and acoustic cork wall panels that complement modern and transitional designs. Cork also provides excellent sound absorption, making it suitable for media rooms or open-plan spaces. #WoodSubstitutes #SustainableMaterials #EcoFriendlyBuilding #HomeRenovation #DIYProjects #GreenBuilding #CompositeMaterials #InteriorDesign #ExteriorDesign

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

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

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

NOWN, an architectural product manufacturer, has introduced a range of 3D-knitted products designed for architectural specifiers, focusing on sustainable acoustic surfaces. Headquartered in Amsterdam, The Netherlands, NOWN is composed of designers, engineers, creators, and architects collaborating to develop materials for walls and ceilings that aim to create stylish and transformative spaces while prioritizing sustainability. Central to NOWN's philosophy is a commitment to precision and quality in material development. An exemplary product is InfiKnit, a 3D-knitted polyester material that features a distinct 3D texture and sound-absorbing properties. This material is specifically engineered to mitigate and control reverberations within interior environments. InfiKnit is suitable for various interior settings, including assembly halls and conference rooms, and boasts a highly efficient manufacturing process that generates only 0.1 percent waste, making it fully recyclable. InfiKnit is offered in a variety of colors and four unique 3D textured pattern collections, intended to enhance acoustic comfort within interiors. The product leverages industry-leading knitting technology alongside established architectural manufacturing techniques, providing designers with a versatile tool to soften, expand, absorb sound, and transform spaces. InfiKnit's material composition and distinctive 3D texture are effective in reducing noise from common office disturbances such as ringing, typing, and conversations, thereby fostering more pleasant and productive environments. Additionally, NOWN states that the production of InfiKnit uses 95 percent less water compared to other textile furnishings, reinforcing the brand's dedication to environmental responsibility. By integrating InfiKnit into design projects, specifiers contribute to a more sustainable future. The 3D-knitted yarns offer significant flexibility, allowing for innovative designs that can adapt and transform spaces creatively. The InfiKnit wall and ceiling panels are designed for installation on a grid system and can be paired with NOWN's Soft Sound material backing for enhanced acoustic performance. Soft Sound is manufactured from polyethylene terephthalate (PET) plastic, with up to 60 percent of its content derived from recycled sources. Beyond InfiKnit, NOWN also produces Graphic Perf panels, which are perforated. A customized version of these panels was utilized for a Tesla showroom in California, where Michael W Folonis Architects adapted them to create a patterned, curved facade that also functions as a sunlight filter. NOWN's commitment to sustainability extends to its partnership with German brand Made Of Air, through which it develops carbon-negative materials. These materials are designed to actively sequester more carbon dioxide than they emit, contributing to carbon neutrality and the fight against climate change. The brand emphasizes creating products with patterns that appear complex but are straightforward to install, offering both aesthetic appeal and practical functionality. In 2023, the company rebranded from Arktura to NOWN to better integrate into the European market, adapting its business culture to meet the diverse demands of the region's architecture and design field. The brand positions itself as a collaborative partner for designers, offering solutions that range from bespoke creations to adaptations of standard products, aiming to fit seamlessly into diverse design projects. #AcousticMaterials #SustainableDesign #3DKnitting #ArchitecturalProducts #InteriorDesign #RecyclableMaterials #CarbonNegativeMaterials #MaterialInnovation #ArchitecturalFinishes

The collaboration between Snøhetta and Ege Carpets introduces MATTER, a flatwoven carpet collection that merges digital and physical design, challenging traditional pattern-making through algorithmic randomness. The project draws inspiration from nature's inherent uniqueness, where patterns emerge organically without exact repetition, transforming perceived imperfections into a desirable characteristic. Each carpet in the MATTER collection is unique, created by an algorithm that prevents any two compositions from being identical, echoing the natural world where no two specimens are exactly alike. This approach positions the carpet as a dynamic, almost living element, moving away from conventional industrial production towards a more natural aesthetic. Francesca Giulia Poli, Product Designer and project lead at Snøhetta, describes MATTER as an exploration of scale, craftsmanship, and technology. The design process views the carpet not merely as a surface but as a 'woven landscape,' meticulously constructed from individually manipulated threads. The project investigated how micro-scale design decisions, from code to pixel to thread, can influence macro-scale spaces, resulting in a surface that appears uniform yet constantly shifts depending on the viewer's movement through the space. This innovative methodology allows for a continuously evolving aesthetic that resists serial repetition. MATTER is produced using Ege Carpets' advanced flatweave loom, ensuring both material quality and digital precision. The collection emphasizes sustainability through the use of selected recycled yarns, aligning with a circular design philosophy. The flatweave manufacturing technique also guarantees the product's durability, making it suitable for high-traffic environments while maintaining its aesthetic integrity over time. The material choices and manufacturing process reflect a commitment to environmental consciousness and product longevity. The collection is available in two distinct color palettes, each featuring 18 primary colors with either a muted (beige/grey) or a saturated (blue/green) undertone. This duality offers design flexibility, enabling the carpets to adapt to various spaces and contexts while maintaining a cohesive look within the collection. This thoughtful approach to color and undertone allows designers to achieve diverse atmospheric effects with a consistent product line. MATTER represents a significant advancement in design, redefining the concept of craft by integrating binary code, digital pixels, and physical threads into a new design methodology. This approach celebrates both precision and imperfection, weaving unpredictability, material honesty, and intentional design into a product that naturally resists obsolescence. The inherent uniqueness of each carpet ensures that it evolves over time and cannot be perfectly replicated, offering a fresh perspective on interior textiles. The successful development of MATTER highlights the importance of interdisciplinary collaboration. The fusion of Snøhetta's architectural expertise and Ege Carpets' specialized knowledge in textile manufacturing was crucial for realizing this innovation. Such cross-disciplinary partnerships are often catalysts for groundbreaking designs and disruptive ideas, pushing existing boundaries and challenging conventional systems within the industry. Tenna Knak, Director of Product and Marketing at Ege Carpets, notes that these collaborations inspire curiosity and ambition in new design development, leading to valuable knowledge and unique products like MATTER. The project demonstrates the potential when craft and technology converge, establishing a new design philosophy that embraces unpredictability as a source of beauty and innovation. #TextileDesign #AlgorithmicDesign #DigitalCraft #SustainableDesign #CarpetCollection #Snøhetta #EgeCarpets #InnovativeMaterials #CircularDesign

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

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

Dutch designer Lieske Schreuder has developed an innovative method for creating floor tiles from colored snail excrement. Her project, which combines biology with art and design, involves feeding snails colored paper and then collecting their feces to form new materials. This unconventional approach highlights the potential for utilizing natural processes and unexpected resources in design. Schreuder's interest in this concept began after observing snails in her garden consuming paper and cardboard. This led her to acquire hundreds of snails from a farm and establish a dedicated laboratory to conduct experiments. In this lab, she systematically fed the snails various colored papers to investigate the resulting excrement. Her findings revealed that snails not only consume colored paper but also produce feces that retain the paper's original hue. The designer explained that snails are unable to absorb the color pigment into their bodies, causing the pigment to pass through their digestive system and be expelled as colored excrement. The laboratory setup includes multiple compartments where snails are provided with sheets of colored paper. The paper's cellular structure is similar to the plant matter snails typically eat, making it a suitable dietary substitute for the experiment. Once the colored excrement is produced, Schreuder collects it. The material possesses a malleable texture, which she then processes using a portable machine of her own design. This machine grinds, mixes, and presses the snail excrement into tiles. The resulting tiles have a distinct, roughly textured surface and maintain the vibrant colors of the paper originally consumed by the snails. Schreuder reflected on the common occurrence of walking on unnoticed snail excrement in gardens and streets, suggesting that if these excrements were colored, they would create a kind of "snail excrement carpet." This observation fueled her exploration into transforming this otherwise overlooked natural byproduct into a visible and functional material. In addition to tiles, the designer has also experimented with pressing the feces into molds using a spatula to create delicate threads. These threads have a five-millimeter diameter, and Schreuder is currently researching potential applications for them. She noted that producing one meter of this thread takes approximately an hour and requires six grams of ground excrement, which is roughly the amount produced by nine snails over five days. This project is part of a larger exhibition titled "Biodesign," held at The New Institute in Rotterdam. The exhibition showcases 57 different ideas that integrate biology with art, architecture, and design, demonstrating innovative uses of biological processes and materials. Schreuder's work exemplifies the interdisciplinary nature of biodesign, pushing the boundaries of material science and sustainable design by repurposing biological waste into novel products. #Biodesign #SnailExcrement #SustainableMaterials #LieskeSchreuder #InnovativeDesign #FloorTiles #MaterialExperimentation #RotterdamExhibition