Students use eggs as inspiration for inflatable concrete shelters

University students from Tecnológico de Monterrey's design program collaborated on a project called "Plant-Based" to create design objects that seamlessly integrate vegetation into everyday living spaces. The initiative involved 28 students from various campuses, focusing on conceptualizing items that reflect the intrinsic relationship between humans and nature. Each design was required to address the fundamental needs for plant vitality—sunlight, water, and soil—while also presenting an aesthetically pleasing and functional accessory for homes. The project was guided by two prominent mentors: Henry Julier, Director of Industrial Design at Standard Issue, and Jorge Diego Etienne, an industrial designer and Director of the Design Program. Their mentorship steered the students through a comprehensive design process. The initial phase comprised an intensive three-day workshop dedicated to brainstorming ideas and developing cardboard prototypes for planters, vases, and plant stands. This foundational stage allowed students to explore diverse forms and functions, laying the groundwork for their final designs. Following the conceptualization phase, the designs transitioned into production. Steel sheets were selected as the primary material for their durability and versatility. Students worked within a predefined color palette, incorporating shades of red, yellow, green, blue, and white, which added a vibrant and cohesive element to the collection. Julier and Etienne played a crucial role in challenging students to push creative boundaries while ensuring their designs remained practical and innovative. A key emphasis was placed on the functionality of each object, ensuring that beyond being visually appealing, they actively supported the well-being and growth of the plants they housed. The mentors' guidance was instrumental in ensuring that each finished object not only expressed the symbiotic connection between humans and plants but also met criteria for functionality, sustainability, and beauty. The resulting collection showcases a variety of objects designed to facilitate the easy incorporation of plants into domestic environments, promoting a harmonious coexistence. The project highlights a forward-thinking approach to product design, where environmental consciousness and practical utility are interwoven with creative expression. #PlantBasedDesign #StudentDesign #IndustrialDesign #HomeFurnishings #SustainableDesign #TecnologicoDeMonterrey #DesignInnovation #InteriorDecoration #NatureIntegration

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

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

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

Jordanian/Canadian designer Abeer Seikaly developed 'weaving a home,' a disaster relief shelter for refugees that draws inspiration from the temporary huts historically used by nomadic tribes. This innovative concept employs structural fabric, echoing ancient weaving techniques that transform linear fibers into complex three-dimensional forms. The project highlights a novel system that integrates technological advancements with contemporary assembly methods. It envisions a structure composed of durable plastic members that are interthreaded to create a cohesive unit. These flexible envelopes are designed to fold along a central axis, and their hollow structural skin facilitates the passage of essential services such as water and electricity, similar to the functionality of a conventional stud wall. The design of 'weaving a home' prioritizes adaptability and environmental control. Users can manipulate the units to achieve different scales and adjust the exterior skin to regulate exposure to the surrounding elements, allowing for both open and closed configurations. This lightweight, structural fabric is intended to provide not just physical shelter but also a symbolic means for individuals to rebuild their lives in the aftermath of disaster. The mobile components are designed for easy construction, enabling quick establishment of a temporary dwelling. Illustrations accompanying the project demonstrate various aspects of the design. These include views of the tent structures in both closed and open states, showcasing their appearance during different times of day and night. An interior view of an open tent highlights how its layered skin can create pockets for storage, maximizing functional space within the shelter. Additional illustrations provide detailed insights into the construction and flexibility of the shelters. These include conceptual drawings of both single-layer and double-layer fabric skins, an assembly diagram that visualizes the construction process, and models demonstrating how the structure can collapse for portability. Further model studies illustrate the use of cut and scored paper to develop a flexible pattern, underscoring the design's material exploration and innovative form-finding methodology. 'Weaving a home' was recognized for its innovative approach, being shortlisted for the 2012 LEXUS DESIGN AWARD. This achievement underscores the project's potential and its contribution to the field of humanitarian design. The design marries traditional textile practices with modern material science and architectural principles, offering a practical and aesthetically thoughtful solution for temporary housing in crisis situations. The emphasis on user control over the environment and the integrated utility pathways represent key features that differentiate this concept from more conventional emergency shelter designs, offering a more dignified and functional living space for displaced populations. #AbeerSeikaly #DisasterRelief #RefugeeShelter #StructuralFabric #NomadicArchitecture #FlexibleDesign #LexusDesignAward #HumanitarianDesign #SustainableArchitecture

Researchers at ETH Zürich, in collaboration with FenX AG, are advancing construction technology through large-scale robotic 3D printing of cement-free mineral foam. This innovative approach utilizes recycled waste materials to create monolithic, lightweight, and inherently insulated wall systems. The primary goal is to minimize material consumption, reduce labor requirements, and cut associated costs in building construction. The cement-free mineral foam is a porous material that offers flexibility in density, allowing for strategic distribution of insulation and structural strength. This adaptability optimizes the thermal performance of walls, consequently decreasing the energy needed for heating interior spaces. Furthermore, the use of a single, adaptable material significantly streamlines future reuse and recycling processes, and it boasts a lower carbon footprint compared to conventional plastic or aerated concrete foams. The project, named 'Airlements,' showcases a prototype wall constructed from four 3D-printed parts. Each hollow segment weighs 25 kg and was printed in under an hour, followed by a week-long hardening process in a controlled environment. This process operates efficiently within a temperature range of 20 to 28 degrees Celsius and a relative humidity of 20 to 70%, eliminating the need for energy-intensive processing steps typically associated with cement-free mineral foams. The design incorporates a corrugated texture in each piece, enhancing the structural integrity and strength of the final wall structure. When assembled, the hollow core of these segments can be filled with additional mineral foam and sealed with a cementless plaster, forming a cohesive monolithic system suitable for non-structural exterior walls. The casting process also allows for the seamless integration of reinforcements and essential infrastructure facilities, expanding the potential applications of this technology. Future research efforts will concentrate on improving the load-bearing capacity of these elements and refining the manufacturing precision of the 3D printing system. This development signifies a notable step forward in sustainable construction practices, offering a more environmentally friendly and resource-efficient alternative to traditional building methods. The collaboration between ETH Zürich and FenX AG highlights the potential of interdisciplinary research in addressing contemporary challenges in architecture and construction, particularly concerning material innovation and automation in manufacturing. The 'Airlements' project demonstrates a practical application of advanced robotic fabrication techniques, contributing to the broader goal of sustainable and cost-effective building solutions. #ThreeDPrinting #ConstructionMaterials #Insulation #WallConstruction #InnovationInArchitecture #MineralFoam #ETHZurich #SustainableBuilding #RoboticFabrication

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

Ample, an offsite manufacturing business founded in 2021 by Greg Adshead and Aaron Shields, specializes in high-quality, fully transportable, small homes and saunas. The Melbourne-based company, in partnership with Agents of Architecture, aims to provide customizable prefabricated structures that offer an alternative to larger, more expensive traditional housing in Australia. Their design philosophy is inspired by the pragmatic aesthetic of the Australian shed, featuring galvanized metal exteriors complemented by wood and steel interiors. One of Ample's notable projects is 'Stella the Stargazer' and its accompanying Sauna Bathhouse, created for Visit Victoria. This transportable tiny cabin and bathhouse system is designed to encourage younger demographics to explore regional Victoria. Stella is a luxury, fully off-grid accommodation that is relocated every few months. It incorporates unique features like a roll-out sleeping platform for stargazing, where a glazed gable end opens on gas struts, allowing the bed to extend and the glazed section to become a glass roof. The project prioritizes a 'slow living experience,' likened to an adult 'cubby house' (Australia's term for a children's playhouse). Ample's base model, 'The Little Fella,' is a transportable studio pod starting at approximately $49,000 AUD. This price includes a complete, fully insulated building with double-glazed blackbutt timber windows and doors, galvanized tin cladding, hardwood plywood interior lining, and a basic electrical package. Clients can choose to fit out the interior themselves or have Ample customize it to their specifications. The Little Fella is versatile, suitable for use as a backyard studio, bedroom, office, or compact cabin. What distinguishes Ample's prefabs is their unique design style, blending the 'humble Aussie shed' exterior with rich, textural interiors crafted by Agents of Architecture and interior designer Aimee Gleeson. The focus is on using raw, natural, and often repurposed hardwearing materials that are expected to age gracefully and develop a unique patina. Ample also emphasizes custom finishes, fixtures, and fittings, even manufacturing them in-house if suitable options are unavailable. Currently, Ample's products are available only within Australia, though the company expresses interest in future partnerships in the U.S. and Europe. The timeline for a project, from deposit to completion, typically ranges from 4-6 months for a single small pod, depending heavily on local council approvals and the project's size and complexity. Ample operates as a design and manufacturing business, offering remote assistance for site teams but not directly engaging in site work. Clients have a significant degree of customization, ranging from accepting the standard design to being heavily involved in detailing or requesting unique, one-off projects, all contingent on their budget and brief. #PrefabHomes #TinyCabins #AustralianDesign #ModularArchitecture #OffGridLiving #StellaTheStargazer #SaunaDesign #SustainableMaterials #CustomPrefab

Farm owners Gayle and Doug Voepel from Hannibal, Missouri, repurposed their unused 1965 grain silo into a unique backyard gazebo, affectionately named the "Binzebo." For six years, the couple had been incurring costs for insurance and taxes on the old Butler bin, which was no longer functional for its original purpose. Gayle conceived the idea of transforming it, recognizing its potential beyond demolition. This innovative DIY project not only created a new gathering space for their friends and family but also preserved a piece of their farm's history, aligning with their desire to reuse and repurpose existing resources. The transformation began with the discovery of an intact concrete floor at the base of the grain bin, which served as a sturdy foundation for the new structure. After repairing a single crack, the floor was enhanced with a rock-pattern capping. The original roof of the grain bin was cleverly integrated as the top of the gazebo, providing a rustic and authentic aesthetic. Doug, taking charge of the construction, improvised the remaining design and build process, demonstrating resourcefulness and practical skills. The completed "Binzebo" has since become a popular spot for the Voepel family's social gatherings and meals, contributing to their communal life on the farm. Beyond its personal utility, the "Binzebo" has garnered local attention, drawing tourists who are keen to witness the unique repurposing project. Gayle noted that her husband, Doug, takes pride in showcasing their creation to visitors. The couple's innovative spirit extends to future plans, as Doug intends to convert the bin's original door into a summer kitchen. This upcoming project will house his barbecue and smoking equipment, along with fish fryers, further exemplifying their commitment to creative reuse and enhancing their outdoor living space. The step-by-step instructions for this project are available on A Gentle Word, offering inspiration for others interested in similar DIY endeavors. #DIYProject #GrainBinConversion #GazeboConstruction #FarmLife #Repurposing #OutdoorLiving #CreativeReuse #HomeImprovement

WASP, an innovative 3D printer OEM known for its “zero-mile” home building philosophy, has collaborated with IOUS Studio to produce 3D printed ceramic wall cladding tiles. WASP’s foundational mission, the World’s Advanced Saving Project, is centered on developing technology to help humanity construct homes using locally sourced materials. The company distinguishes itself through a close symbiotic relationship with designers, makers, and architects, which fosters the creation of aesthetically pleasing and innovative products. This approach allows WASP to remain at the forefront of creative and technological advancements in 3D printing. IOUS Studio, founded in 2022 by Argentine architects Sol Sanchez Cimarelli and Agustin Ros, brings expertise in architectural and design projects, including 3D printing applications for vases, planters, and concrete structures. Their prior work includes a wall designed to integrate with nature, showcasing their innovative design philosophy. During their residency at WASP, IOUS Studio leveraged a WASP 40100 system to manufacture ceramic wall cladding tiles. The resulting project, named Fusion, draws inspiration from the ocean, specifically the interplay of shadows on waves, to inform its unique designs. The tiles are designed to be combinable, allowing for customized wall coverings. The assembly of these tiles takes place on-site, demonstrating a practical application of their modular design. Currently, the production rate for these tiles is impressive, with over 30 components achievable per machine per day. The team has already successfully produced 4,000 components, highlighting the scalability and efficiency of their 3D printing process. For 2024, WASP plans to expand its Residency program, inviting more artists, architects, and designers to participate. The program aims to broaden the spectrum of materials compatible with 3D printing, develop user-friendly tools for creative professionals, and facilitate the industrialization of 3D printed components. Residents are offered the opportunity to collaborate with WASP employees and utilize advanced 3D printers, including the large-scale Crane WASP systems. The program also provides comprehensive training and ensures that participants’ research findings are disseminated among the broader WASP user community. The scope and duration of each project within the residency are flexible, catering to diverse creative and technical explorations. WASP’s residency program stands out from those offered by other 3D printer OEMs. While some companies engage designers primarily for marketing and public relations, WASP’s intent is more profound. The company approaches its interactions with the design community as a partnership of equals, valuing artists, designers, and architects as integral pioneers driving innovation and shaping a better future. WASP recognizes that these creative individuals possess the unique ability to uncover new insights into materials, develop novel processes, and craft beautiful yet functional items that can inspire and transform. Rather than seeking collaborations with established figures solely for their fame, WASP actively seeks out technologists and explorers who are dedicated to the arduous, skilled work required to produce parts previously considered impossible. This strategic approach by WASP, by fostering genuine collaboration and supporting the creation of truly novel and relevant designs, could lead to significant advancements in industrializing high-volume applications. Such a sensitive and relevant exploration of design and 3D printing can generate similar, if not greater, benefits than more traditional, PR-driven marketing strategies, potentially increasing the adoption of 3D printers within the design community and inspiring further publications and industry growth. The article concludes by expressing a hope that other major OEMs will emulate WASP's model by establishing similar residency programs to collectively advance the technical and artistic potential of 3D printing. #WASP #IOUSStudio #3DPrintedCeramics #WallCladding #ResidencyProgram #ArchitecturalDesign #3DPrintingInnovation #SustainableBuilding #SaloneDelMobile