Hilla Shamia casts tree trunks with molten aluminium to form furniture

The article presents the innovative furniture design technique developed by Hilla Shamia, an industrial designer trained at the Holon Institute of Technology. Shamia's "Wood Casting" method involves combining molten aluminum and whole tree trunks to create unique furniture pieces. This technique focuses on preserving the natural form of the wood while integrating it with metal, creating distinct boundaries and a unique aesthetic. The core of the "Wood Casting" technique involves pouring molten aluminum, which reaches a temperature of 1220 degrees Fahrenheit, directly onto wood. Given that wood ignites at 572 degrees Fahrenheit, the molten metal causes the surface of the wood to char. This charring creates a natural transition zone between the two materials, which is a key aesthetic and structural element of Shamia's designs. Instead of being a destructive process, the burning of the wood is transformed into a positive, emotional, and artistic value, as it preserves the tree trunk's natural form within defined structural boundaries. Shamia utilized entire tree trunks of cypress and eucalyptus for her furniture series. The process required collaboration with metalsmiths who were willing to experiment with this unconventional approach. Pouring molten aluminum directly onto the wooden surface allowed the metal to seep into the natural niches and crevices of the tree trunk. This interaction results in the aluminum solidifying within these organic patterns, creating an effect described as the metal being "frozen into that moment of melting" into the carbonized wood. The initial burning process shapes the exterior of the wood. Subsequently, the entire wooden plank is cut lengthwise and integrated into a metal frame, forming the final furniture structure. This method allows for a juxtaposition of the artificial, geometric feel of the metal with the organic, natural profile of the wood. The designer emphasized the challenge of finding metalsmiths adventurous enough to participate, as such a casting process could extend up to two weeks. The furniture series highlights how a seemingly destructive interaction between materials can be harnessed to create visually striking and structurally integrated designs. Shamia's work transforms raw materials into functional art, showcasing the beauty of material contrasts and the preservation of natural forms through an industrial process. The impact of this process on contemporary furniture design is noted as intriguing, demonstrating a novel approach to material combination and aesthetic expression in the field of industrial design. #WoodCasting #FurnitureDesign #MoltenAluminum #HillaShamia #IndustrialDesign #MaterialInnovation #WoodMetalFusion

Product designer Hilla Shamia has developed a distinctive furniture series that merges molten aluminum with natural wood. This innovative design approach results in unique pieces where the hot metal interacts directly with the wood, creating a visually striking and texturally rich outcome. The process involves pouring molten aluminum onto carefully selected pieces of wood. As the metal cools and solidifies, it infiltrates the porous structure of the wood, creating a seamless and organic bond between the two disparate materials. This integration is not merely superficial; the molten metal effectively becomes an integral part of the wooden structure, highlighting the natural grain and contours of the wood while introducing a contrasting metallic element. A key characteristic of Shamia's technique is the intentional charring that occurs at the points of contact between the molten aluminum and the wood. This controlled burning effect adds depth and a unique aesthetic quality to each piece, emphasizing the dynamic interaction between the extreme temperatures of the metal and the organic nature of the wood. The charring creates dark, rich outlines and textures that complement the metallic sheen, enhancing the overall visual appeal and narrative of the furniture. The raw edges and natural imperfections of the wood are often preserved, allowing the molten aluminum to flow into these irregularities, which further accentuates the natural form of the wood. Each furniture item in this series is inherently one-of-a-kind due to the unpredictable yet controlled nature of the molten metal's interaction with individual wood pieces. Factors such as the type of wood, its density, moisture content, and the specific contours of its surface all contribute to a unique outcome with every pour. This bespoke quality ensures that no two pieces are exactly alike, offering customers furniture that is both a functional object and a piece of art. The series includes various furniture types, showcasing the versatility of this technique across different applications. Shamia's work exemplifies a contemporary approach to design, pushing the boundaries of material combination and process. By juxtaposing the industrial strength and fluidity of aluminum with the warmth and organic beauty of wood, she creates a dialogue between natural and man-made elements. The furniture challenges traditional notions of material compatibility, presenting a novel aesthetic that is both rugged and refined. The designer's official website provides additional images and detailed insights into the creative process, offering a comprehensive look at the stages of development and the intricate results achieved. This collection not only provides functional furniture but also serves as a testament to the potential for innovative material applications in modern design. #MoltenMetal #WoodFurniture #HillaShamia #ProductDesign #UniqueFurniture #MaterialInnovation #ArtisticFurniture #HomeDecor

Earth To People, a design studio with operations in New York, Texas, and British Columbia, has unveiled its inaugural furniture collection. The series draws inspiration from ancient design principles and emphasizes eco-conscious craftsmanship by utilizing naturally fallen trees, repurposed metal, and natural tree saps. This approach stands in contrast to conventional furniture manufacturing methods that often rely on ecologically damaging logging practices and toxic adhesives. The studio sources its wood from trees in Squamish, British Columbia, that have been uprooted by strong wind gusts and storms, rather than through intentional logging. The trees used for two distinct chair models in the collection are estimated to be between 300 and 400 years old, highlighting the studio's commitment to using salvaged and aged materials. The wood pieces are meticulously hand-carved by Earth To People artisans. For joinery and adhesion, the collection employs pure resin extracted from Pine and Cedar tree sap. This natural adhesive replaces the industrial, often toxic, glues commonly found in mass-produced furniture. This choice reflects a deep understanding and application of ancient techniques, where natural binders were standard before the advent of synthetic alternatives. Complementing the wooden chairs is a collection of aluminum lighting fixtures. These pieces are crafted from salvaged metal, which Earth To People acquires from a local recycling plant. This aspect of the collection further reinforces the studio's dedication to repurposing materials and minimizing environmental impact. The inspiration for using salvaged metal harks back to ancient practices of metal repurposing, which date as far back as 400 B.C. The lighting designs are characterized by simple geometric shapes. Examples include a sconce that provides a soft, diffused light from behind a square of hand-brushed metal, and a table lamp featuring a small cylindrical design that projects light outwards. A notable piece within the lighting collection is the Aluminum Floor Lamp. This lamp features a tall, rectangular metal plinth with a narrow central slit, allowing a gentle illumination to escape, evoking a mystical quality reminiscent of ancient megaliths and their cosmic alignments. Despite these archaic inspirations, the entire collection maintains a contemporary aesthetic, making it suitable for both modern and traditional interior spaces. Founded in 2023 in New York's Catskills region, Earth To People's philosophy is rooted in principles of ancient stewardship, focusing on sustainable practices and a deep respect for natural resources. The studio's debut collection is a tangible manifestation of these values, offering furniture and lighting solutions that are not only aesthetically pleasing but also environmentally responsible and historically informed. #EarthToPeople #SustainableDesign #FurnitureDesign #SalvagedMaterials #TreeSap #EcoConscious #AncientInspiration #HandCarved #BritishColumbia

Roc H Biel, a designer and Royal College of Art alumnus, has created a sculptural furniture collection named "Dust Order," which redefines sustainability by utilizing wood dust, typically considered a waste product. The collection transforms this fine offcut material into monumental forms, drawing inspiration from classical columns and challenging traditional perceptions of weight and material. The design aims to evoke a sense of ancient history while maintaining a modern and otherworldly aesthetic. The "Dust Order" series comprises two primary objects: a sculptural chair and a modular desk system. Both pieces showcase the unique, granular texture of compacted wood dust, reminiscent of raw stone or sand casting, yet they possess a surprising lightness. Biel's approach reinterprets classical motifs through a contemporary lens, creating pieces that feel both familiar and futuristic, aiming to generate a moment of wonder where material, memory, and perception converge. The sculptural chair in the collection is constructed entirely from compacted beech wood dust. Its design features negative space that creates a visual rhythm, and its geometric profiles transition from octagon to circle to square, giving a modern edge to the classical column silhouette. The chair's surface texture belies its unexpected lightness, making it a conversation piece that challenges expectations of its composition. The modular desk system offers versatility and functionality. It consists of three 3D-printed components made from a bonded mixture of magnesium and beech wood dust. These components are designed to represent the classic elements of columns—shaft, capital, and entablature—but are reimagined for contemporary use. The modular nature allows for various configurations, transforming the desk into a stool, a bench, a bench with a side table, or a dining table. This adaptability is paired with a grainy texture that evokes compacted earth or pressed sediment, connecting its modern function with ancient materials. Biel's work in "Dust Order" highlights intentional contrasts: between weight and weightlessness, waste and refinement, and earth and atmosphere. The project serves as an example of how unconventional materials can be elevated into sophisticated design, proving that surrealism can manifest in powerful physical forms beyond digital realms. The designer's innovative use of wood dust not only promotes sustainability but also challenges the aesthetic and tactile expectations of furniture, transforming discarded material into objects of artistic and functional value. #FurnitureDesign #SustainableDesign #WoodDust #SculpturalFurniture #ModularFurniture #ClassicalModernFusion #MaterialInnovation #RocHBiel

Echo Petersen, founder of E Lee Designs, has found a creative outlet for her artistic passion by creating a variety of home decor and kitchen items featuring unique swirled acrylic paint designs. Petersen's work, which includes handblown coasters, trivets, charcuterie boards, and holiday ornaments, will be showcased at the 605 Made Holiday Market in Sioux Falls. Her designs are characterized by their vibrant colors and intricate patterns, achieved through a technique of blowing acrylic paints with drinking straws onto surfaces like ceramic tiles, wooden cutting boards, and canvases. This method allows colors to remain separate and distinct without blending, resulting in visually striking pieces. Petersen's journey into this craft began after she retired from her career as a financial assistant. Inspired by a set of handblown coasters she encountered during a trip to Fort Collins, Colorado, she dedicated herself to learning and mastering the technique. This involved extensive research through online videos and significant experimentation to develop her own proprietary mix of acrylic artist paints. Her husband, Bryce, supports her endeavors by creating custom oak frames for her canvas pieces. Each item crafted by Petersen undergoes a meticulous, multi-stage process that spans approximately one week. After the initial paint application, the piece requires time to dry and for the paint to cure. Following this, Petersen prepares the item by sanding its back and carefully taping it before applying a resin layer, which then takes an additional three days to dry. This commitment to quality ensures the durability and longevity of her handmade products. E Lee Designs offers a range of items, from small porcelain tile coasters to larger six-inch porcelain trivets and various wooden cutting boards. A particularly popular item that frequently sells out is her bamboo charcuterie board, which features pullout drawers and includes small wooden utensils, all adorned with her signature handblown paint designs. Petersen prioritizes using high-quality materials to ensure customer satisfaction and product resilience. In her creative process, Petersen pays close attention to current interior design trends, specifically monitoring popular colors in furniture and granite countertops. This awareness guides her selection of hues, ensuring her designs complement contemporary home aesthetics. She also incorporates micro powder glitter into her paints to add a subtle shimmer to the finished pieces. Popular color palettes in her collection include gray-beige, purple, and various autumn colors, while her personal favorite combination involves navy blue, moss green, and gold. This will be E Lee Designs' first participation in the 605 Made Holiday Market, though Petersen has previously showcased her work at vendor shows across South Dakota in cities such as Brookings, Pierre, Aberdeen, and Yankton. The 605 Made Holiday Market, an event organized by Knotty Gnome Variety & Salvage, Sew Doggy Boutique, and SiouxFalls.Business, and sponsored by The First National Bank in Sioux Falls and Dakota Business Finance, will feature over 40 makers. It is scheduled for Saturday, December 7, from 10 a.m. to 4 p.m. at Cherapa Place in downtown Sioux Falls, with free admission for attendees. #E Lee Designs #HandmadeDecor #AcrylicPouring #HomeDecor #HolidayMarket #Craftsmanship #ArtisanProducts #SmallBusiness #SiouxFallsEvents

This article highlights the enduring appeal of hardwood furniture amidst the emergence of new materials in design. While acknowledging innovations like bioplastics and vegan leathers, the piece emphasizes that skilled and creative woodworkers can transform traditional materials like teak, walnut, and oak into long-lasting, heirloom-quality pieces using only their tools and workshops. The focus then shifts to showcase several custom wood furniture makers in Toronto and the Greater Toronto Area (GTA) who excel in crafting these enduring designs. Five distinct pieces of furniture are presented, each demonstrating different styles, materials, and price points. The first featured item is Daniel Gruetter’s bar stool, crafted from red oak. When treated with iron oxide, the red oak develops a unique ruddy, patinated complexion. Gruetter combines this material with mortise, tenon, and an upholstered seat to create a bar stool designed to be an heirloom, priced at $2500. Next is Nicholas Hamilton Holmes’ Captain’s dining table, which features a rounded design and pin and tenon joints that playfully extend through a marble tabletop. Made from white oak, this table, starting from $3700, offers a commanding presence while maintaining a lighthearted aesthetic. Heidi Earnshaw’s Half Hathaway is the third item, a made-to-order piece distinguished by its minimalist appearance, bevelled legs, turned knobs, and straight-lined design. Despite its seemingly simple form, the piece incorporates complex joinery, showcasing the hidden craftsmanship. It is priced from $5400. Atelier Arking’s Lami dining chair is highlighted for its contrast between a rigid white ash frame and soft, pillowy leather upholstery. This chair, starting from $620, is designed to serve both as a functional everyday seating option and a striking statement piece. Finally, the article features Kate Duncan’s Ribbed Bed. Inspired by brutalist architecture, this bed, however, uses textured hardwood instead of cold concrete. It can also include optional details such as brass pulls and leather-veneered fronts, and is available from $18,000. Each piece underscores the timelessness and quality achievable through traditional woodworking techniques. #CustomFurniture #Woodworking #TorontoDesign #HeirloomQuality #ProductDesign #HardwoodFurniture #LocalMakers

Designer Philipp Hainke has developed 'Organico', a collection of furniture, including chairs and partitioners, that utilizes an innovative, sustainable material made from hemp and an organic binder. This collection was showcased during Milan Design Week and represents a new approach to materiality and product life cycles, combining natural resources with technology. The core of the Organico project lies in its unique material composition and manufacturing process. Hainke's extensive research led to the discovery of an optimal blend for a sandwich material, which consists of a cover made from hemp fiber mat and a core of hemp shives. These components are pressed together using a binder composed of calcium hydroxide and casein. This specific formulation results in a material that is both stable and lightweight, making it suitable for furniture construction. The design philosophy behind Organico emphasizes preserving the inherent, archaic character of the raw materials while maintaining a clear and sensual aesthetic. The furniture pieces are conceived to function cohesively as a group, reflecting their natural origins. The project highlights the importance of exploring various processing techniques and applications for sustainable materials to introduce new eco-friendly methodologies in design and manufacturing. A key aspect of Hainke's approach is the integration of technical components directly into the molding process, such as screw sleeves. This integration streamlines manufacturing and contributes to the overall efficiency of production. The coloration of the furniture is achieved through natural pigments that are added directly to the binder, ensuring an environmentally conscious approach to aesthetics. Furthermore, the design of the chairs specifically incorporates two equal molded pieces to minimize manufacturing costs, demonstrating a consideration for economic sustainability alongside environmental goals. The innovative sandwich structure of the material allows for variations in thickness within each piece, providing design flexibility and potentially optimizing material usage for different structural requirements. The final binder recipe is the result of long-term research and continuous improvement, underscoring the dedication to perfecting the material's properties. The project involved numerous material samples and prototypes developed through design and material experiments, often in combination with rattan, to achieve the desired balance of strength, lightness, and aesthetic appeal. These efforts collectively aim to offer a more sustainable and environmentally responsible alternative to conventional furniture materials. #PhilippHainke #OrganicoCollection #HempFurniture #OrganicBinder #SustainableDesign #MilanDesignWeek #MaterialInnovation #EcoFriendlyFurniture #ChairDesign

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 article showcases the work of Jared Abner, a 2021 Furniture Design graduate from RIT, focusing on his distinctive approach to creating furniture and sculptures. Abner's artistic philosophy is characterized by a unique combination of subtraction and addition, a process he describes as "creation through destruction." He begins by engaging in subtractive methods, such as turning, carving, and cutting raw materials, and then reassembles these modified pieces to form new creations. This methodology highlights a dynamic interplay between deconstruction and reconstruction in his design process. One prominent piece featured is a walnut and fiber rush bench from 2020. This work exemplifies his ability to blend traditional woodworking materials with contemporary design principles, resulting in a functional yet artistic piece of furniture. Another significant creation is an abstractly shaped chair crafted from stack-laminated cherry wood, also from 2020. This chair demonstrates his innovative use of lamination techniques to achieve complex forms and textures, transforming solid wood into a visually fluid structure. The intricate layering of cherry wood not only adds to the aesthetic appeal but also speaks to the meticulous craftsmanship involved in its construction. The article also presents a series of "Suspension Study" sculptures, which further illustrate Abner’s exploration of form, balance, and material interaction. "Suspension Study One" features a wood sculpture connected to a large blue ball, utilizing walnut, poplar, and milk paint from 2020. This piece suggests an investigation into equilibrium and the tension between different elements. "Suspension Study Two," from the same year, continues this theme with a wood sculpture incorporating a rope to hold a blue ball, again using walnut, poplar, and milk paint, alongside the addition of rope. The inclusion of rope introduces an element of flexibility and dynamic force, contrasting with the rigidity of wood. Finally, "Suspension Study Three," created in 2020, consists of a black sculpture where two large wood pieces sandwich a blue ball, made from ash, poplar, and milk paint. This piece explores containment and compression, with the blue ball acting as a focal point that is simultaneously supported and constrained by the wooden components. Collectively, these works underscore Abner’s versatility in transforming raw materials into pieces that challenge conventional notions of furniture and sculpture, emphasizing both aesthetic innovation and a thoughtful engagement with the physical properties of his chosen media. His portfolio reflects a deep understanding of material manipulation and an artistic vision that merges functionality with sculptural expression. #FurnitureDesign #Sculpture #JaredAbner #RITAlumni #Woodworking #MaterialManipulation #ArtisticProcess

The article highlights a growing trend away from mass-produced items towards unique, handcrafted furniture and home decor pieces that emphasize creativity, craft, and time-honored techniques. It showcases 15 such items from various global makers, positioning them as collectible interiors pieces that are worth investing in now for their potential to become future design classics. The featured items begin with a modern take on a classic: the Canopy Armchair from Marchmont Workshop, a handcrafted stickback chair inspired by woodlands and priced at £3,600. This piece reflects a return to traditional craftsmanship with a contemporary aesthetic. Following this, the article introduces hand-painted lampshades by Spanish artist-designer Alvaro Picardo, which can be custom-matched to interior paintwork and wallpaper using Farrow & Ball paints, starting from £110. These lampshades are presented as artistic finishing touches for living spaces. Another innovative item is the Vine Vase by Wobbly Digital, a Glasgow-based artist who creates eccentric 3D-printed objects from recycled and bioplastics, priced at £350. This vase is noted for its viral potential, akin to the popular Gluggle Jug, and is recommended for dried flowers only. Scarlett Farrer, a rising star in hand weaving, is featured for her rustic textiles, specifically wall hangings made from undyed British wool. Her work, ranging from £250 to £1,800, gained recognition after she won the 2024 Young Weaver of the Year award. The article then presents a statement chair designed by Esto Estudio in Madrid, which combines a tubular steel frame with vibrant orange fabric, blurring the lines between furniture and sculpture, starting from approximately £800. Rich Miller, a ceramic artist and judge on 'The Great Pottery Throw Down,' offers unique cone-shaped pendant lights inspired by antique sugar cones, each priced at £2,425. These lights explore the history of the sugar trade and Miller's cultural ancestry. Sustainability is a key theme, exemplified by Jacob Marks' resin lamps, made from pine resin, with the Red RF Lamp I priced at £730. These lamps were a highlight at the London Design Festival for their use of unusual sustainable materials. Xanthe Somers, a Zimbabwean ceramic artist, contributes surrealist stoneware from her 'Sisters Toil' series, which explores women's work and crafts, with pieces ranging from £6,500 to £9,000. Loney Abrams and Johnny Stanish of Wretched Flowers create mesh murals and chain mail lamps, drawing inspiration from diverse sources such as museum archives and medieval armor. These shimmering wall hangings are available on application. James Shaw's sustainable seat, priced at £2,000, is crafted from recycled plastic waste like milk cartons and shampoo bottles, transforming discarded materials into unique, organic forms. The master plasterers Ffion and Steven Blench, known as Chalk Plaster, produce marbled, fluted sidetables using scagliola, a 16th-century technique imitating marble, priced at £7,800. Freya Bramble-Carter, a ceramicist, offers wheel-thrown pots in earthy shades, blending traditional techniques with an expressive approach, starting from £900. Maria Sigma, a textile designer and weaver, focuses on zero-waste wares using natural, often undyed, fibers for her throws and cushions, with her 'Apricity' throw priced at £890, though it has an eight to ten-week waiting period. Joe Sweeney's terracotta stoneware butter dish, priced at £300, is described as a charming and functional addition to the breakfast table. Emsie Sharp, a glassblower, presents candy-colored drinking glasses made in her Dorset studio, priced at £38 each, as a modern alternative for smart dinner tables. Finally, the article highlights Matthew Raw's tiled bedside table from his 'Welcome' collection, inspired by tiled facades of train stations and buildings. These pieces, featuring handcrafted and glazed tiles, are priced at £5,180 for a sidetable with a drawer, indicating a growing presence in contemporary home design. #FurnitureDesign #HomeDecor #HandcraftedItems #SustainableDesign #CollectibleArt #InteriorDesignTrends #Craftsmanship #ArtisanalProducts #LuxuryInteriors

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

Designer Pao Hui Kao has developed the 'Paper Pleats' furniture collection, which includes stools, coffee tables, a dining table set, shelving, a space divider, and a ceiling lamp, all crafted from tracing paper bound with a unique rice glue. This innovative approach stems from the designer's personal sensitivity to chemicals found in many man-made materials and a commitment to creating recyclable products with minimal environmental impact. The core of the Paper Pleats collection lies in its distinctive manufacturing process. Each piece is constructed from tracing paper that is first soaked in rice water. This rice water functions as a natural adhesive, binding the individual sheets of paper together. As the paper absorbs the water and subsequently dries, it undergoes a natural shrinking and wrinkling process. This controlled contraction is crucial, as it contributes to the material's transformation into a surprisingly strong and rigid structure, despite the inherent fragility of paper. To achieve specific forms and maintain the desired aesthetic, Kao has engineered a series of bespoke tools, including various moulds. These tools are utilized to shape the wet paper, ensuring that the natural wrinkles are preserved while also allowing for the creation of regular patterns and pleats across the furniture pieces. The designer describes this process as a collaboration with the material itself, learning to control key elements like humidity and drying temperature to encourage the paper to adopt particular shapes and textures. A significant aspect of Kao's design philosophy is the ability to create objects that can support substantial weight, challenging conventional perceptions of paper's strength. This is achieved by forming numerous irregular paper tubes that are then bound together by the rice water, resulting in objects that possess a deceptive fragility in appearance but demonstrate considerable structural integrity. This method was initially developed during Kao's studies at Design Academy Eindhoven and has been continuously refined since 2016. The latest iterations of the Paper Pleats collection, including a series of three stools, were showcased at the Collectible design fair in Brussels. The presentation was hosted by the Belgian gallery Spazio Nobile, highlighting the collection's artistic and functional merits. Kao's choice of paper as a primary material is deeply rooted in both personal necessity due to allergic reactions to chemical components like pigments and coatings, and a broader interest in sustainable design practices. The designer emphasizes the importance of understanding recycling systems to investigate new methods of object creation that consider the entire lifecycle of a product. Paper, being a widely used and neutral material with a relatively simple and clean manufacturing process, proved to be an ideal choice for this sustainable endeavor. #PaperPleats #FurnitureDesign #SustainableDesign #RecyclableMaterials #RiceGlue #TracingPaper #DesignAcademyEindhoven #CollectibleDesign #EcoFriendly

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

Aslan Tiles, situated in downtown Nablus, stands as the solitary remaining producer of traditional Palestinian tiles in the West Bank. The Aslan family has meticulously refined this craft across four generations since the 1930s. Despite receiving attractive proposals to relocate their operations to Israel, the family has steadfastly maintained their heritage in Nablus. Palestinian flagstone tiles enjoyed peak popularity in the 1930s, adorning the floors and walls of numerous urban residences throughout Palestine with intricate floral and geometric patterns. However, the advent of inexpensive, mass-produced tiles in the 1980s and 1990s led to a decline in demand for local tiles, resulting in the closure of many local tile producers across the West Bank. Nevertheless, over the past decade, Anan Aslan has observed a resurgence of interest in their bespoke, handcrafted products. The company, employing a staff of seven, operates from a modest three-building premises where they produce these unique tiles. Anan Aslan notes that there is a growing appreciation for their product, which people now view as a significant tradition and heritage, a tangible link to their past and roots. What was once considered a necessity valued for its durability is now seen as a luxury, with customers seeking to engage with this art form. Inside the Aslan workshop, nearly every surface is adorned with the company’s handiwork, creating a vibrant kaleidoscope of colors on walls and floors. The tile-making process is meticulous and labor-intensive. Luay and Omar, the youngest tile-makers, share a stencil and a tile press, each producing between 120 and 150 tiles daily. The process begins with cleaning the copper base of a mold with oil. Pigment is then carefully poured into segments of a stencil. Once the stencil is filled, it is delicately lifted, leaving a precise, watery impression of the design. Thaer then sifts a fine-ground cement over the design, followed by a denser, chunkier cement that forms the tile’s base. The workshop itself is covered in a fine layer of cement dust, and the tools are caked with years of pigment, a stark contrast to the delicate finished products arranged face-to-face behind the workstations. The workshop's office features a vast wall adorned with stencils, some dating back to the 1930s, offering approximately 750 designs that can be mixed and matched. Anan Aslan, representing the fourth generation, recently took over the management of the company from his father, Jalal, though over 100 family members retain shares in the business. Abu Walid, the oldest staff member, has been crafting tiles for the family since 1947, demonstrating exceptional precision in inspecting each finished tile. German-imported colored pigments line the workshop tables. Interestingly, the premises also house a functional chicken coop within one of the workshop buildings, its inhabitants navigating among the piles of tiles. Aslan Tiles exports 70 percent of its products to Israel, serving both Jewish and Arab Israeli clients. Anan collaborates with an Israeli contact who imports the tiles, often in plain, unmarked boxes, which are then forwarded to sellers who apply their own labels. A box destined for Israel is shown stamped with a Hebrew logo. Additionally, orange and black tiles are bundled in the yard, awaiting shipment. While the company receives inquiries from Jordan and the Gulf region, prohibitive export costs often deter potential customers in these areas. #PalestinianTiles #HandmadeCrafts #TraditionalArt #Nablus #FamilyBusiness #CulturalHeritage #WestBank #TileMakingProcess

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

The market for shading products is currently experiencing a notable shift, with metal options gaining significant traction and encroaching on the market share traditionally held by fabric awnings. Despite this trend, fabric awnings retain unique advantages that allow them to remain competitive. Seth Duplantis, president of USA Canvas Shoppe in Dallas, Texas, notes that approximately two-thirds of his company's projects now involve metal, with fabric making up the remaining third. Chris Noyes, co-owner of Roberts Awnings in Petersburg, Virginia, observes a similar ratio, with his company now at about 60% metal and 40% fabric, a reversal from previous years. Metal's rising popularity is attributed to several key strengths, primarily its durability and lower cost of ownership. Duplantis highlights metal's resilience, especially against events like hailstorms, which can lead to unexpected maintenance for fabric alternatives. Noyes emphasizes the maintenance-free aspect of metal awnings, often accompanied by long-term warranties, making them particularly appealing to commercial clients who value a one-and-done solution. This preference has led many shopping centers to replace existing fabric awnings with metal ones. Generally, metal tends to be favored in commercial applications, while fabric is more common in residential settings. However, fabric awnings offer distinct benefits that metal cannot. Fabric provides greater versatility and aesthetic appeal. Duplantis points out that fabric allows for personalized artwork and designs, which can help businesses distinguish themselves. For residential properties, fabric offers a wider range of color options, enabling homeowners to achieve a desired visual "pop" that metal's limited palette of around nine colors cannot provide. Furthermore, fabric awnings are initially more cost-effective, often being three times cheaper than their metal counterparts, although metal products typically last four to five times longer. Fabric also facilitates more creative and complex designs, such as wavy structures, which can be challenging to achieve with rigid metal panels. Laura Noyes from Roberts Awnings summarizes that metal offers a modern, clean, and functional look, while fabric provides more style and design possibilities. Another practical consideration is the installation of metal awnings on older buildings, which may require additional structural reinforcement or blocking in the walls, making the process more labor-intensive. Moreover, the permanence of metal can be a disadvantage in commercial environments where brand identities, tenant occupancy, and building ownership frequently change. Fabric awnings, with an average commercial lifespan of about five years, align well with the typical cycle of logo and color updates for businesses, meaning replacements often coincide with re-branding efforts. In a project for downtown Clarksville, Virginia, Roberts Awnings implemented removable valances for fabric awnings, allowing businesses to easily update their branding without replacing the entire awning structure, thus saving costs and offering flexibility. To enhance competitiveness against metal, fabric awning manufacturers can adopt several strategies. Duplantis suggests sourcing fabric directly to reduce costs and embracing automation, such as production management systems and automated cutting equipment, to minimize labor hours and pass savings to customers. USA Canvas Shoppe is also focusing on post-installation maintenance follow-ups for fabric shading structures. Advancements in fabric technology, particularly in thread materials like Tenara® and SolarFix®, have significantly improved the longevity of fabric awnings by addressing previous vulnerabilities to UV degradation. Despite the current prevalence of metal, Laura Noyes anticipates a cyclical nature in design trends, suggesting that fabric's popularity may resurge in the future, as styles often shift over time. The article was written by Alan Pierce, a freelance writer based in Minneapolis-St. Paul, Minnesota, and was published on March 1, 2025. #FabricAwnings #MetalAwnings #ShadingSolutions #BuildingMaterials #ResidentialDesign #CommercialDesign #ProductTrends #TextileInnovation #AestheticAppeal