Eco-designer turns landfill waste into ‘plasma rock’ — a sustainable, all-purpose material

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

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

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

A team of South Korean designers has developed an innovative and sustainable building material called Re:shell, which transforms discarded eggshells into modular, interlocking, biodegradable bricks. This initiative, stemming from the Living Design Lab at Seoul National University – Department of Design, aims to address South Korea's growing construction waste problem. The country's rapid industrialization and urbanization since the 1970s and 80s have led to a significant amount of aging infrastructure slated for redevelopment, with construction materials currently comprising 45% of the nation's total waste. Re:shell offers a promising zero-waste composite solution to this environmental challenge. The project leverages the abundant availability of eggshells, easily sourced from local bakeries and restaurants. The primary component of eggshells, calcium carbonate (CaCO₃), is a key ingredient in cement, known for its strong binding and hardening properties. The manufacturing process for Re:shell involves several steps: washing, drying, and grinding the eggshells into a fine powder. This powder is then combined with natural additives to enhance its characteristics. For instance, red clay is incorporated to improve durability, wheat bran is used to achieve a smoother texture, and straw is added to increase flexibility and reduce weight. This careful selection of natural components ensures the material's sustainability and biodegradability. Strength tests conducted on the Re:shell material have demonstrated exceptional hardness, indicating its potential for various construction applications. Crucially, when buried in soil, the material exhibits clear signs of natural decomposition, affirming its zero-residual waste characteristic. This complete biodegradability is a cornerstone of its sustainable design. The design philosophy guiding the Re:shell project is deeply rooted in traditional Korean architectural principles, which emphasize the harmony between nature and human life. This inspiration is reflected in the material's versatile and scalable applications. Prototypes developed by the team showcase a broad range of potential uses for Re:shell. These include small-scale products, interior partitions, and even exterior facades. The modular and adaptable nature of the bricks echoes Korean traditions, such as the portable soban table and flexible room layouts, highlighting the material's potential for diverse design needs. The team's future aspirations for Re:shell include developing effective waterproofing solutions that do not compromise its 100% biodegradability. Additionally, they aim to further explore and validate its potential as a structural building material, which would significantly expand its impact on sustainable construction practices. #SustainableBuildingMaterials #EggshellRecycling #ModularBricks #BiodegradableMaterials #ConstructionWasteManagement #ZeroWasteComposite #KoreanDesignInnovation #LivingDesignLab #EcoFriendlyArchitecture

Armourcoat, a surfacing brand, has introduced Clime, a new line of textured, biodegradable wall plaster surfaces. This innovative product combines the natural aesthetic of clay with enhanced durability, positioning itself as a sustainable and ecological alternative to traditional paints and other wall coverings. Clime has been recognized for its sustainable design, earning a shortlisting in the sustainable design building product category at this year's Dezeen Awards. The development of Clime addresses a common challenge with conventional clay plasters: their inherent fragility and susceptibility to water damage. While clay plasters are lauded for their sustainability, their limited durability has historically restricted their application, particularly in high-traffic or moisture-prone areas. To overcome this, Armourcoat thoughtfully formulated Clime by integrating hydraulic lime with unfired clay and limestone. This addition significantly boosts the material's resilience, making it suitable for both busy domestic and commercial interiors without compromising its natural appeal. Armourcoat emphasized that Clime's formulation is a deliberate effort to minimize environmental impact. The material is biodegradable, recyclable, and entirely free of cement and VOCs (Volatile Organic Compounds). Its eco-friendly composition has earned it Eurofins Indoor Air Comfort (IAC) Gold status, a certification that highlights products with low emissions and minimal impact on indoor air quality. The brand conducted extensive research and evaluation, confirming that while pure clay plasters possess wonderful qualities, their extreme fragility and rapid softening when exposed to water necessitate a more robust solution for widespread application. By creating a natural binder with roughly equal proportions of clay and hydraulic lime, Armourcoat believes it has achieved an optimal balance, providing a product that is both naturally sustainable and durable enough for long-lasting use as a wall finish. Clime is available in two distinct finishes to cater to diverse aesthetic preferences. Clime Honed offers a subtly textured surface, providing a refined and understated look. In contrast, Clime Course features a rougher, more dramatic texture, achieved by incorporating recycled crushed marble into the mixture. The product is manufactured by blending natural materials into a powder form at Armourcoat's UK factory. This powder is then mixed with water on-site to create the plaster, ensuring ease of application. Beyond its visual appeal and durability, Clime is designed to contribute to healthier indoor environments. The plaster boasts a natural breathable finish, which is crucial for maintaining optimal air quality. It is engineered to absorb toxins from the air, regulate internal humidity levels, and resist the growth of mould and mildew. This makes Clime a beneficial choice for individuals concerned about indoor air pollutants and respiratory health. The range is offered in 15 natural hues, providing a palette inspired by earthy tones, and can be customized with various textured finishes, including banding, layering, and pearlescent washes, allowing for personalized interior design solutions. Armourcoat stated that Clime plasters not only create healthy interiors but also celebrate traditional decorative skills, bringing the beauty of natural pigments and textures indoors. #SustainableDesign #WallCoverings #InteriorDesign #EcologicalMaterials #ClayPlaster #DurableFinishes #GreenBuilding #IndoorAirQuality #TexturedSurfaces

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

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

The article explores the potential of natural binders, specifically magnesium oxychloride and potato starch, in combination with hemp fibers to create robust, sustainable, and circular materials, as explained by Dutch designer and professor Jack Brandsma. Before the advent of synthetic bonding agents, adhesives from renewable resources like casein and protein were commonly used. These natural alternatives are regaining attention due to rising costs of conventional crude-oil-based binders and the environmental concerns associated with synthetic materials. The challenge often lies in the inseparable nature of fibers and binders once combined, making recycling difficult. In the Dutch design context, self-production has become a necessity, fostering an educational system that encourages manual skills and practical implementation of ideas. Jack Brandsma, a lecturer and researcher at Academy Minerva, collaborates with IHOG (Innovatie Hub Oost-Groningen) and its partners—HempFlax, Nedmag, and Avebe—to experiment with hemp and natural binders. HempFlax, for instance, has partnered with BMW to produce interior panels for the automotive industry, using hemp as a lightweight alternative to glass fibers. However, the combination of hemp with synthetic binders in these applications still presents a circularity challenge. Brandsma's research focuses on using magnesium oxychloride and potato starch as binders. Magnesium oxychloride, also known as Sorel cement, is formed by mixing magnesium salt, oxide, and magnesium chloride with water. This fluid material can fully soak hemp fibers, and when clamped under pressure, it hardens like cement within 24 hours. Potato starch, a more environmentally friendly binder, behaves like a jelly glue when mixed with water and can be molded similarly to papier-mâché. Unlike magnesium, which can be corrosive to metals due to its salt content, potato starch is a gentler option. Both binders are sensitive to moisture, indicating their biodegradability, a crucial aspect for circularity. Brandsma emphasizes that the goal is not merely to replace synthetic materials but to find natural alternatives that offer comparable performance. He challenges students to create rigid and strong structures using natural materials, drawing inspiration from historical designs like Willy Guhl's cement and asbestos fiber constructions. He envisions these materials being applied in furniture, highlighting their ability to absorb and release moisture, unlike synthetic alternatives. The discussion also delves into the broader implications of material choices on environmental impact and the product lifecycle. Brandsma argues against the current consumption-driven system that encourages frequent disposal of products. He advocates for designing durable items that can last a lifetime and be passed on, questioning the necessity of constant newness. The article concludes by stressing the importance of exploring new applications for existing materials and fostering a shift in design education to prioritize sustainability and circularity, transforming designers into innovators who address genuine needs rather than simply creating new products for market consumption. #NaturalBinders #HempFibers #CircularEconomy #SustainableMaterials #MagnesiumOxychloride #PotatoStarch #DutchDesign #Biodegradability #MaterialInnovation

The growing interest in sustainable architecture is leading to a resurgence of earth-based building materials, reimagining ancient techniques for modern construction. One significant development is the upcoming UCCA Clay museum in Yixing, China, designed by Kengo Kuma, which is set to open in October 2024. This 25,800-square-foot facility will be Kuma’s first project to predominantly feature clay as a construction material. Located in Yixing, a city celebrated for its millennia-old ceramic tradition, the museum's facade will incorporate ceramic panels with varying textures and colors, creating a "kiln transmutation" effect that changes with light and viewing angles, blending historical context with contemporary design. This innovative approach to material use is indicative of a broader trend towards integrating natural and sustainable elements into architecture and interior design. Beyond UCCA Clay, several other manufacturers and designers are championing earth-based solutions. Sirewall System, for example, is utilizing rammed earth walls for projects like the Edmonton Valley Zoo entrance. These walls, constructed from local aggregates and compacted sediment, offer a layered aesthetic reminiscent of riverbanks. They not only provide strength and durability comparable to concrete but also boast a significantly reduced CO2 footprint. Similarly, WOW Design offers a minimalist ceramic lattice system named Icon, crafted from matte terra-cotta. Available in two colors, this system highlights clean lines and symbolic depth, showcasing the Spanish studio's expertise in high-end ceramic tiles. Shildan’s Extruded Terracotta Rainscreen Panels are designed to enhance both the aesthetic and performance aspects of modern buildings. These durable and eco-friendly cladding panels, made from natural clay, ensure long-lasting, weather-resistant facades. They can be installed horizontally or vertically, offering excellent thermal insulation, design flexibility with various colors and textures, and effective moisture management. ERDEN, an Austrian firm, specializes in prefabricated heated rammed earth floors, making this sustainable option more accessible and affordable. Their customizable floors can include integrated heating, subsurface insulation, and soundproofing, all while utilizing locally processed soil to reduce waste and emissions and optimize indoor climate. Telling Architectural Systems provides Argeton Terracotta Rainscreen Facades, which serve as a vital passive system for building protection. These high-performance, durable, and weather-resistant cladding systems, made from natural clay tiles, prevent moisture buildup when installed on a ventilated substructure. They offer design flexibility through a range of colors, textures, and sizes, while maintaining thermal efficiency and effective moisture management. In furniture design, Australian designer James Walsh has revived ancient techniques with his Anthropic Bench. This piece features conical plinth legs made from hand-rammed earth mixed with recycled glass and compacted in a CNC-milled mold. The plinth shades vary based on the soil source and mineral content, and the legs secure an American oak top solely through gravity, eliminating the need for fasteners. Lastly, Glen-Gery offers custom bricks made from clay, slate, sand, or recycled materials, providing distinctive textures and colors that can be tailored to specific architectural contexts. A notable example is The Grand Mulberry in New York, designed by Morris Adjmi, which features custom bricks with hemispherical ornaments that create an abstracted Italianate facade in relief. These diverse applications demonstrate how earth-based materials are being innovatively integrated into various aspects of architecture and design, offering sustainable and aesthetically rich solutions for contemporary building practices. #SustainableArchitecture #EarthBasedMaterials #RammedEarth #Terracotta #CeramicDesign #EcoFriendlyBuilding #NaturalBuildingMaterials #ArchitecturalInnovation

Matter at Hand, a material research studio co-founded by Assemble's Lewis Jones, has developed a novel clay-based construction technique called Poured Earth. This method aims to simplify and increase the accessibility of building with earthen materials, drawing inspiration from concrete casting. Traditional earthen construction methods, such as rammed earth and cob, are highly sustainable but often demand significant labor. Poured Earth seeks to address this by leveraging a process similar to concrete casting, enabling scalability and the reuse of existing equipment. The development of Poured Earth was part of Matter at Hand's residency in the Art in Manufacturing programme at the National Festival of Making. Jones highlights the utility of flowable, castable solid materials, as demonstrated by concrete, while acknowledging concrete's substantial carbon footprint. Poured Earth offers a practical alternative, allowing for similar ease of use with earthen materials, thereby promoting a more sustainable approach to construction. The method also introduces new design possibilities and surface finishes not typically associated with earth construction. Poured Earth samples are created by combining clay with varying amounts of sand, aggregate, and natural fibers. Crucially, these mixtures do not require binders like cement or gypsum, making them easily reformable or returnable to the earth at the end of their lifecycle. The process involves mixing these materials in a cement mixer, pouring them into formwork, and then vibrating the mixture to eliminate trapped air before demolding. Matter at Hand collaborated with ceramic manufacturer Darwen Terracotta, integrating slip-casting techniques used for architectural ceramics into the Poured Earth development. A key innovation distinguishing Poured Earth from other earthen construction methods is the incorporation of deflocculants, chemical agents commonly used in ceramic slip-casting. Deflocculants such as sodium silicate, soda ash, or bark tannins enhance the flowability of the clay mix without requiring additional water. This results in a denser material with minimal shrinkage, unlike traditional methods where adding more water to achieve fluidity can reduce strength and increase drying time. Jones notes that while deflocculants are foundational to ceramic slip casting, their application in earth construction is a relatively new and promising area. Poured Earth samples were showcased at the National Festival of Making in Blackburn Cathedral. The exhibition featured structural Poured Earth walls made from clay, crushed ceramics, and recycled construction aggregates, designed for both in-situ construction and precast panels. Also presented was a lightweight insulative panel, framed in timber, composed of clay, wood chip, hemp shiv, and foamed recycled glass. Prototypes of hollow clay cast blocks filled with loose, natural insulation were also displayed. A composite wall, drawing from the CobBauge system, demonstrated a dual-layer structure with an internal load-bearing layer and an insulative layer. Matter at Hand intends to scale the Poured Earth prototype into a full-scale building, aiming to demonstrate its viability as a mainstream, contemporary building method. Jones emphasizes the need to re-establish unfired clays as mainstream construction materials in the face of the climate emergency, advocating for both design innovation and practical advancements to facilitate their broader adoption. #PouredEarth #SustainableConstruction #EarthenMaterials #MaterialInnovation #ClayConstruction #ConcreteAlternative #Deflocculants #GreenBuilding #ConstructionTechnology

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 contemporary design studio we+, through its ‘Urban Origin’ research project, has collaborated with Ambientec to introduce Remli, a portable lighting fixture that innovatively redefines the use of recyclable materials from urban environments. This project exemplifies urban mining by transforming industrial waste from Tokyo into functional and aesthetically pleasing objects. The core concept behind Remli involves collecting fine debris and rubble from Tokyo’s industrial waste recycling plants, materials that are typically challenging to recycle and often destined for landfills. Instead of disposal, these materials are crushed, mixed with soil, and then applied to the lighting fixture using traditional plastering techniques. Remli not only diverts waste from landfills but also elevates these discarded materials into a valuable resource. This approach highlights a significant shift in how urban waste can be perceived and utilized, moving beyond conventional recycling methods to create new, high-value products. The design studio we+ has a history of exploring sustainable practices and material innovation, and Remli stands as a continuation of this commitment, particularly within the context of urban mining—a process focused on recovering valuable resources from waste streams generated in cities. By integrating these repurposed materials into a portable lighting fixture, Remli offers a tangible example of how design can contribute to a circular economy. The collaboration with Ambientec, a company known for its lighting solutions, ensures that the resulting product is not only environmentally conscious but also meets high standards of functionality and design. The portable nature of Remli adds to its practicality, allowing for versatile use in various settings while subtly communicating its origins as a transformed waste product. This project underscores the potential of interdisciplinary collaboration between design studios and manufacturers to address environmental challenges. The 'Urban Origin' project's focus on Tokyo's specific waste streams demonstrates a localized yet scalable model for urban mining. The process of crushing and mixing debris with soil before application is a key technical aspect that enables the creation of a stable and durable material for the lighting fixture, effectively binding disparate waste elements into a cohesive form. The use of plastering techniques further imbues the fixtures with a crafted, artistic quality, blurring the lines between industrial waste, functional design, and art. Ultimately, Remli serves as a powerful statement on sustainability, demonstrating that even the most overlooked and difficult-to-recycle urban waste can be given a new life as an item of practical beauty. It challenges traditional notions of waste and encourages a re-evaluation of our relationship with materials, promoting a future where urban debris is seen as a resource for creative and sustainable design solutions. #SustainableDesign #UrbanMining #RecycledMaterials #PortableLighting #WasteTransformation #CircularEconomy #MaterialInnovation #TokyoDesign #EcoFriendlyProducts

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

Emily Packer, a British/American videographer, identified a critical issue in global plastic recycling, noting that only about 9% of plastics are actually recycled in America, and observed significant waste accumulation in Kigali, Rwanda. This motivated her to shift from environmental storytelling to creating a tangible local impact. Partnering with Jake Calhoun, she co-founded Coldharbour Tiles, an initiative that transforms Rwanda's plastic waste into durable, stylish home decor materials. The project's core involves melting down high-density polyethylene (HDPE) plastics, primarily from bottle caps, to create decorative tiles. Approximately 50 bottle caps are required for each tile, demonstrating the significant volume of plastic that can be diverted from landfills and waterways through this process. Coldharbour Tiles are designed for various home applications, including backsplashes, and the team provides guidance and design ideas to customers through a free tile information brochure. Packer's journey began after an internship with the United Nations Environmental Program, which highlighted the environmental consequences of inadequate waste management systems in developing countries. She recognized the pervasive nature of single-use plastics and the illusion of waste being simply 'thrown away,' realizing it often ends up in oceans, landfills, or other countries. Moving to Rwanda, she initially attempted to reduce plastic waste through a café that used biodegradable containers and bamboo straws, but soon recognized the unavoidable reliance on plastic in daily life, prompting her to seek a more impactful solution with long-term utility. To establish Coldharbour Tiles, Packer collaborated with Jake Calhoun, who brought experience from a social enterprise and an online food delivery company. They partnered with Kigali's IPRC engineering school, which provided a warehouse facility and technical support from professors and students. Initially, Packer personally collected HDPE plastic from waste management sites, demonstrating the project's grassroots origins. Through extensive experimentation with color, temperature, cooking times, and mold designs, they refined their tile production process despite limited engineering experience and funding. The team encountered challenges, particularly in scaling production. Their current facility, while effective for initial development, lacks the capacity for large-scale orders. The Kickstarter campaign aims to raise funds for essential equipment like a plastic-waste washing machine and commercial shredder, which would significantly boost production capabilities. The long-term vision for Coldharbour Tiles includes becoming a leader in the eco-tile industry, processing thousands of tons of plastic waste annually, and establishing manufacturing sites in Asia, Europe, the U.S., and Africa to address plastic waste globally and connect with diverse consumer markets. This expansion would also address the logistical challenges of operating in Rwanda, where access to advanced manufacturing technology is limited, necessitating creative, hands-on solutions for processes like mold design and fabrication. #SustainableDesign #RecycledMaterials #HomeDecor #PlasticWaste #Rwanda #SocialEnterprise #Crowdfunding #EcoTiles #WasteManagement

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

The sustainable Clay Plasters Rustic Range by UK brand Clayworks offers a textured surface finish for internal walls and ceilings, designed to emulate the look of concrete, stone, and earth. The product line is a celebration of imperfection, introducing an organic and raw aesthetic to interior spaces. Made entirely from unfired clays and blended with natural pigments and minerals, the Rustic Range is an eco-friendly alternative to traditional plasters. This plaster is applied at a thickness of five to 10 millimeters, allowing for a highly textured finish and enabling skilled plasterers to create intricate three-dimensional patterns. Clayworks emphasizes that this material can replicate the popular finishes of materials like concrete without the associated environmental impact. The brand highlights the product's versatility, noting its wide array of textural variations, from delicate to very coarse, and its ability to be carved for unique storytelling effects. A key aspect of the Clay Plasters Rustic Range is its environmental sustainability. The use of natural materials ensures that the plaster is compostable, free from toxic ingredients, volatile organic compounds (VOCs), and formaldehyde. Beyond its aesthetic and ecological benefits, the plaster also offers practical advantages for interior environments. It is easy to repair, possesses sound-absorbing qualities, and contributes to regulating the humidity and temperature within a space, enhancing overall comfort and indoor air quality. Clayworks is featured in Dezeen Showroom, an initiative that provides a platform for brands to showcase new products and highlight their designs and projects to a global audience interested in architecture and design. This particular product exemplifies a commitment to sustainable design, offering both aesthetic flexibility and environmental responsibility for contemporary interiors. The range aims to bring a touch of natural, rugged beauty into modern living and commercial spaces. #ClayPlasters #Clayworks #SustainableDesign #InteriorSurfacing #TexturedWalls #EcoFriendlyMaterials #NaturalPigments #ArchitecturalFinishes #DezeenShowroom

Clayworks, a UK-based brand, has developed a diverse range of natural clay plasters designed to create smooth, rustic, or rammed earth aesthetics on interior surfaces. These plasters, showcased as part of Dezeen Showroom, provide sustainable and visually engaging options for both residential and commercial interior design. Crafted by mixing unfired clays with minerals and pigments, these Cornwall-based company's plasters offer breathable finishes for walls and ceilings. Beyond their aesthetic appeal, the high-performance clay plasters serve as an eco-friendly alternative to traditional gypsum plasters or paints, contributing to better indoor air quality by regulating humidity and absorbing toxins and odors. The collection includes various finish options, starting with the Classic range's Smooth finish. This particular finish presents a seamless and cloudy appearance, available in a palette of neutral and earthy tones. An example of its application can be seen in a London house extension designed by Magri Williams Architects, which was recognized and shortlisted for the 2019 Don't Move, Improve! award. For those seeking a more tactile and robust texture, Clayworks offers the Rustic finish. This option introduces depth to surfaces, with its appearance varying based on the application technique. Specialized tools allow the plaster to mimic the look and feel of different types of stone or even concrete. Notable installations of the Rustic finish include Snøhetta's Aesop store in London's Chelsea neighborhood, another Aesop outpost in White City, and a cafe located in the UAE. Expanding beyond the Classic options, Clayworks also provides a Custom finishes range, featuring the Rammed Earth finish. This specific finish is designed to replicate the ancient building technique of rammed earth construction, characterized by textured layers that form distinct bands of varying hues. The Rammed Earth finish has been incorporated into London's Gaucho restaurant, where it adds rich tonal variations to the bar areas. Clayworks is deeply committed to environmental sustainability, ensuring its products have a low embodied carbon footprint. Furthermore, the plasters are recyclable and compostable, aligning with eco-conscious design principles. The company's founders, Adam Weismann and Katy Bryce, have extensively researched clay as a building material globally, and have authored two books on the subject, underscoring their expertise and dedication to natural building solutions. Additional details about Clayworks and their product offerings are available on their official website. #Clayworks #NaturalPlasters #InteriorFinishes #SustainableDesign #EcoFriendlyMaterials #RammedEarth #InteriorDecoration #BuildingMaterials #ArchitecturalFinishes

Ranieri, a Campania-based company with a century-old family history in volcanic rock treatment, showcased its innovative approach to lava stone at EDIT Napoli 2023 with the installation "A Matter Of Perspectives." This exhibition, part of the CULT program, highlighted the material's potential in art, architecture, and interior design through the vision of new creative directors Francesco Meda and David Lopez Quincoces. The installation was housed in Santa Maria La Nova, a deconsecrated Roman Catholic Renaissance-style church and monastery in Naples. The choice of this historic venue underscored Ranieri's commitment to its regional heritage. Giovanni Ranieri, the head of the company, emphasized the aim to ennoble the natural essence of lava stone with a bold, experimental interpretation, treating the material in unprecedented ways. "A Matter Of Perspectives" in the cloister of Santa Maria La Nova was an immersive experience. It featured two mounds of crushed lava rock dust and sculptural compositions of volcanic stone slabs with imperfect finishes. This design allowed visitors to explore the rich world of lava stone both up close and from a distance, observing from the portico that surrounded the installation. The portico also displayed a 10-meter material library, showcasing Ranieri's various finishes, including the new Odissea collection of 2D and 3D elements designed by Meda and Quincoces. The overall concept emphasized the beauty of imperfection and the interplay between raw material, natural elements, and human craftsmanship. The second part of the exhibition took place in the refectory, adorned with a 16th-century fresco. Here, Meda and Lopez Quincoces created a theatrical setting using light, focusing on a singular 17-meter table crafted entirely from volcanic stone. This monumental piece, with a crystalline green finish—Ranieri’s distinctive shade—demonstrated the material's versatility. The table featured a solid base and overhanging ends, creating an atmospheric effect. Surrounding the table were lava stone stools that, when grouped, resembled a single black lacquered block, but when separated, revealed dynamic sides with fluid patterns, achieved through Ranieri’s Zest Lava finish, which incorporates burgundy and golden-brown hues. The creative directors explained that the installation was designed to embody conviviality and to narrate a project with both aesthetic and functional characteristics, inviting public interaction with the natural material. They aimed for an elementary, almost primitive, and universal language, focusing on the material itself rather than solely on design. The intention was to create a concept that could be replicated in other contexts, giving it a multifaceted and extended life, all while respecting the inherent qualities of the lava stone. Ranieri's approach celebrates the natural composition of lava stone, revealing its unexpressed potential and breaking away from traditional aesthetics. #VolcanicRock #ContemporaryDesign #ArtisanalCraftsmanship #EDITNapoli #LavaStone #InteriorDesign #ArchitecturalMaterials #InnovativeMaterials #DesignInstallation