uk £10.00 us $16.99 aus $16.99 cdn $17.99 dkk 129.95 fr €1 4 .0 de €14.90 ita €14.50 jpn ¥2000 sgp $28.50 es €14.00 chf 18.90 aed 85.00
*Architecture � Design � Art � Travel � Entertaining � Beauty & Grooming � Transport � Technology � Fashion � Watches & Jewellery august 2020 AUGUST 2020
The Re-Made Issue Re- think
Design for a Better World Re- imagine Re- purpose Re- connect Re- engineer Re- model
256 Re- Made Design for a Better World
BLACK YELLOW MAGENTA CYAN 93WPR20AUG900.pgs 19.06.2020 15:38 BLACK CHANEL.com YELLOW MAGENTA CYAN 93WPR20AUG187.pgs 18.06.2020 09:07 BLACK YELLOW MAGENTA CYAN 93WPR20AUG176.pgs 11.06.2020 11:20 BLACK YELLOW MAGENTA CYAN 93WPR20AUG175.pgs 11.06.2020 11:27 BLACK YELLOW MAGENTA CYAN 93WPR20AUG179.pgs 11.06.2020 11:21 Tangente Sport. Made in Germany. This automatic timepiece is outstandingly water resistant, exceptionally robust, and equipped with a NOMOS bracelet. At work inside is the neomatik date caliber, DUW 6101, well-protected by the stainless steel case. Now at select retailers, as well as here: nomos-glashuette.com
BLACK YELLOW MAGENTA CYAN 93WPR20AUG177.pgs 11.06.2020 11:20 AUGUST Re- Made
Design for a better world
026 Light installation Timon & Melchior Grau and Tobias Grau
028 Modular sofa Muller Van Severen and Kassl Editions
032 Water fountain Yasmin Bawa and Axor
037 Beauty kitchen Doshi Levien
038 E-trike and trailer Konstantin Grcic, Hydro, Cake and Polestar
042 Food delivery packaging PriestmanGoode and collaborators
047 Seedling incubator Timon & Melchior Grau preview their lighting installation for Re-Made with a series of conceptual images, page 026 Phoebe English
047 Scented masks 048 Eco-aware personal care Ma-tt-er and Ponsont Made Thought
050 Weighted blanket Studio Ossidiana
053 Urban gardening kit Piuarch
056 Mycelium packaging Nina Bruun, Astep and Grown
058 E-waste watch Vollebak
061 Uniforms Roz Barr and Ssōne
062 Red mud tiles Research for Faye Toogood and The Shellworks’ calming lamp, with a bioplastic shade made from shellfish waste, page 070 Tonkin Liu and Studio ThusThat
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BLACK YELLOW MAGENTA CYAN 93WPR20AUG101.pgs 25.06.2020 21:20 BLACK YELLOW MAGENTA CYAN 93WPR20AUG178.pgs 11.06.2020 11:20 AUGUST Re- Think
Researching a better world
082 Formafantasma Can we make fuller use of ephemeral things?
088 Afterparti Who holds the power to shape our cities?
094 Paul Dillinger Is fashion fixable?
098 Map Project Office Can you create a perfect circle?
102 Fernando Laposse What’s the problem with crushed avocado?
106 Christien Meindertsma Can lino live forever? Among material research in Nina Bruun’s studio, mycelium samples for her packaging project with Astep and Grown, page 056 110 Nate Petre Is micro-making the future? 065 Portion plate Jean-Baptiste Fastrez and Chipsboard 114 Re- Connect The Wallpaper* Re-Made reading list 065 Compost bin High Society and Black Cow
066 Hand sanitiser Odd Matter, Dust London and Kinfill
068 Solar harness Stefan Diez
070 Calming lamp Faye Toogood and The Shellworks
072 Shelving system Asif Khan and BioMason
074 Knife sharpener Jenkins & Uhnger and Victorinox 076 Textiles and dyes Formafantasma explores the impact of temporary exhibition design, Kaiku and SaltyCo here with a repurposable set for the Rijksmuseum, page 082
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BLACK YELLOW MAGENTA CYAN 93WPR20AUG102.pgs 25.06.2020 21:22 Nature. Formed.
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BLACK YELLOW MAGENTA CYAN 93WPR20AUG188.pgs 18.06.2020 09:07 Wallpaper.com
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@wallpapermag Editorial Editor-in-Chief Architecture / Design Fashion Wallpaper* Digital Contributing Editors Sarah Douglas Architecture Editor Fashion Director Digital Director Nick Vinson Senior Editor Ellie Stathaki Jason Hughes Tilly Macalister-Smith Isabelle Kountoure Nick Compton Design Editor Fashion Features Editor Digital Editor Emma O’Kelly Executive Editor Rosa Bertoli Laura Hawkins Elly Parsons Hugo Macdonald Bridget Downing Henrietta Thompson Acting Design Editor Assistant Fashion Market Editor Head of Social Media Suzanne Trocmé Commissioning Editor Alice Morby Marianne Kakko Fiona Mahon TF Chan Assistant Architecture Editor Fashion Assistant Design Editor, Digital US Editor Executive Assistant Harriet Thorpe Aylin Bayhan Sujata Burman Michael Reynolds to Sarah Douglas & Bookings Editor Arts Editor, Digital New York Editor Special Projects Coordinator Interiors Pei-Ru Keh Danaï Loukas Tracy Gilbert Harriet Lloyd-Smith Interiors Director Milan Editor Watches & Jewellery Senior Digital Designer Art Amy Heffernan Fraser Clark Marco Sammicheli Deputy Art Director Interiors Editor Assistant Watches & Junior Digital Designer Paris Editor Anne-Laure Fuchs Hannah Jordan Jewellery Editor Gabriela Sprunt Amy Serafin Hannah Silver Designer Deputy Interiors Editor Digital & Social Germany Editor Sophie Lovell Ben Rimmer Olly Mason Transport & Technology Media Coordinator Junior Designer Interiors Coordinator Katie Meston Madrid Editor Jacqui Scalamera Transport & Technology Editor Maria Sobrino Daniel Faltys Jonathan Bell Digital & Social Media Assistant Phoebe Gardner Japan Editor Photography Travel Production Web Developers Jens H Jensen Travel Editor Aidas Zubkonis China Editor Photography Director Production Editor Lauren Ho Gianluigi Mango Yoko Choy Holly Hay Anne Soward Singapore Editor Photography Editor Entertaining / Beauty Sub Editor Olivia-Rose Hazeldine Re-Made Coordinator Daven Wu Entertaining Director Léa Teuscher Sophia Acquistapace Australia Editor Assistant Photography Editor Melina Keays Sophie Gladstone Editorial Assistant Elias Redstone Beauty & Grooming Editor Diane Theunissen Latin America Editor Mary Cleary Pablo León de la Barra Buenos Aires Editor Mariana Rapoport
Publishing & Marketing Managing Director Wallpaper* Digital Advertising Offices Circulation / Subscriptions Malcolm Young Digital Project Manager usa china Senior International Business Director Arti Sisodiya Advertising Manager Advertising Manager Circulation Manager Kelly Gray Tel: 44.20 3148 7773 Matt Carroll Maggie Li Alice Stilwell Publishing Assistant Tel: 1.312 420 0663 Tel: 86.10 6952 1122 * International Business Anna Aylward Wallpaper Bespoke italy hong kong, taiwan, Development Manager Advertising Acting Bespoke Director Advertising Manager and korea Laura Gordon Blue Gaydon Paolo Cesana Advertising Manager Finance Associate Publisher Bespoke Director Fashion Executive Herb Moskowitz Lloyd Lindo Sarah-Jane Molony Antonella Caporale Tel: 852.2838 8702 Management Accountant Tel: 44.20 3148 7786 Claire Glavin Bespoke Editor Design Executive thailand Senior Account Manager Advertising Manager Simon Mills Marcella Biggi Corporate Tom Hemsley Christopher Stephen Marsh Bespoke Art Director Commercial Executive Tel: 44.20 3148 7725 Tel: 66.2 204 2699 Group Managing Director Daniel McGhee Paolo Mongeri Global Sales Manager singapore Andrea Davies Bespoke Producer Tel: 39.02 844 0441 Ben St George Advertising Manager Alex Milnes Production Manager Tel: 44.20 3148 7722 germany, austria Tim Howat Tel: 44.20 3148 7746 John Botten and switzerland Tel: 65.6823 6822 Advertising Business Manager Digital Product Manager Advertising Manager Amanda Asigno Peter Wolfram india Leonard Burns Production Controller Tel: 49.89 9611 6800 Advertising Manager Digital Production Manager Chris Gozzett Rachna Gulati Daniel Short france Tel: 91.98111 91702 Advertising Manager Sales Director: Content Licensing uae Magali Riboud & Brand Partnerships Advertising Manager Tel: 33.1 42 56 33 36 Efi Mandrides Mamta Pillai Tel: 971.5035 62723
Editorial Complaints, We work hard to achieve the World Headquarters Subscriptions Wallpaper*, ISSN 1364-4475, is published monthly, 12 times a year, by The Wallpaper* Group, a division of TI Media highest standards of editorial content, and we are Limited. © 2020 WaIIpaper* TI Media Limited, 161 Marsh Wall, London E14 9AP, UK. The US annual subscription price is committed to complying with the Editors’ Code of $190. Airfreight and mailing in the US by agent named Worldnet Shipping Inc., 156-15, 146th Avenue, 2nd Floor, Jamaica, Practice as enforced by IPSO. If you have a complaint 161 Marsh Wall Tel: 0330 333 1113 (UK) NY 11434, USA. Periodicals postage paid at Jamaica NY 11431. US Postmaster: Send address changes to Wallpaper* , about our editorial content, you can email us at London E14 9AP Tel: 44.330 333 1113 (overseas) Worldnet Shipping Inc., 156-15, 146th Avenue, 2nd Floor, Jamaica, NY 11434, USA. Subscription records are maintained at [email protected] or write to Complaints WaIIpaper*, TI Media Limited, 161 Marsh Wall, London E14 9AP, UK. Air Business Ltd is acting as our mailing agent. Other Manager, TI Media Limited Legal Department, United Kingdom Order online at Wallpaper.com subscriptions rates for Wallpaper* for one year (12 issues), UK £120, Europe €200, and rest of the world £210. For enquiries, 161 Marsh Wall, London E14 9AP, UK. Please provide Email: [email protected] contact [email protected]; alternatively, from the UK call: 0330 333 1113, overseas call: 44.330 333 1113 (lines open details of the material you are complaining about Monday-Saturday GMT, 8am-6pm excluding Bank Holidays). Reproduction in whole or in part without written and explain your complaint by reference to the permission is strictly prohibited. All prices and credits are accurate at time of going to press but are subject to change. Editors’ Code. We will endeavour to acknowledge Manuscripts, photos, drawings and other materials submitted must be accompanied by a stamped, self-addressed your complaint within 5 working days and we aim envelope. Wallpaper* cannot be held responsible for any unsolicited material. Repro by Rhapsody. to correct substantial errors as soon as possible. Printed by Walstead Roche.
BLACK YELLOW MAGENTA CYAN 93WPR20AUG103.pgs 25.06.2020 19:02 www.baxter.it
BLACK YELLOW MAGENTA CYAN 93WPR20AUG174.pgs 11.06.2020 11:18 BLACK YELLOW MAGENTA CYAN 93WPR20AUG191.pgs 23.06.2020 11:13 EDITOR’S LETTER
uk £10.00 uk £10.00 us $16.99 us $16.99 aus $16.99 aus $16.99 cdn $17.99 cdn $17.99 dkk 129.95 dkk 129.95 fr €14.0 fr €14.0 de €14.90 de €14.90 ita €14.50 ita €14.50 jpn ¥2000 jpn ¥2000 sgp $28.50 sgp $28.50 es €14.00 es €14.00 chf 18.90 chf 18.90 aed 85.00 aed 85.00
*Architecture � Design � Art � Travel � Entertaining � Beauty & Grooming � Transport � Technology � Fashion � Watches & Jewellery august 2020 *Architecture � Design � Art � Travel � Entertaining � Beauty & Grooming � Transport � Technology � Fashion � Watches & Jewellery August 2020 AUGUST 2020 AUGUST 2020 Design for a Better WorldBetter a for Issue Design Re-MadeThe Re- think Issue Re-MadeThe
Re- imagine WorldBetter a for Design Re- purpose Re- connect Re- engineer Re- model 256 256 Limited edition cover Design for a Better World Re- Made of CO2 665.19g approximately is storing magazine This by Formafantasma
BLACK YELLOW MAGENTA CYAN 93WPR20AUG900.pgs 19.06.2020 15:38 BLACK YELLOW MAGENTA CYAN 93WPR20AUG902.pgs 19.06.2020 15:51 Design for Life
Newsstand cover Welcome to the August issue, where we introduce Wallpaper* Re-Made – our new flagship Limited-edition cover Our newsstand cover project and an evolution of Wallpaper* Handmade, our decade-long initiative connecting by Formafantasma introduces a mantra for designers, creatives, makers and manufacturers. We have pushed ourselves and our creative The designers’ cover Wallpaper* Re-Made, features a microscopic a seven-step programme collaborators to absorb the lessons of decades of activism, environmentalism and view of paper fibres from towards design for innovation, and to focus more sharply on inspiration and intent. eucalyptus, often used a better world Last April marked the tenth anniversary of Handmade, and after 587 projects and 1,085 for paper production, and an estimate of the collaborators, we had already started planning its evolution. Many times during the past CO2 contained within year – whether visiting ‘Broken Nature’ at Milan’s Triennale, re-reading Victor Papanek’s each copy of this issue Design for the Real World (over 20 years since I studied it at university), or talking with of Wallpaper*. Keeping it longer will postpone contributors and members of the team, I’ve realised the urgent role that we have to play. the release of CO2 It struck me that Wallpaper* has always stood for Design for Life. The best things into the atmosphere last a lifetime, accompanying our journeys and enriching our lives. So we shouldn’t simply when it is eventually incinerated. See more be making more beautiful things, we should re-examine how, what and why we make from Formafantasma and consume. on page 082 With Re-Made, we’ve maintained the fundamental premise of Handmade: pairing Limited-edition covers are the best designers, makers, architects and engineers to create thought-provoking and available to subscribers, inspirational projects. Now we’re re-focusing with a greater emphasis on design and see Wallpaper.com creation that can enrich and endure. And rather than presenting their work up front, we want to first invite them to share their research and creative process. And so, in this Re-Made issue, we preview 23 projects that will be shown in Milan next year, to coincide with the 60th anniversary of Salone del Mobile. They include an e-trike and trailer by Konstantin Grcic, food delivery packaging by PriestmanGoode, a shelving unit by Asif Khan, a water fountain by Yasmin Bawa, an urban gardening kit by Piuarch, and an e-waste watch by Vollebak – all eco-conscious takes on common typologies. At the moment, they are incubation projects, works in progress, a starting point for conversation about common problems and possible solutions. And in that spirit, the dialogues around them will live on after the Milan event, digitally and otherwise, to spark further ideas and innovations. We have also invited creatives from different fields who have taken a research-based approach to current issues affecting the design industry. We will collaborate with these studios to further expand their work, and present it alongside the 23 projects in Milan. They include Formafantasma, Christien Meindertsma, Fernando Laposse, Nate Petre and Map Project Office. Meanwhile, Afterparti, a collective of young BAME architecture writers, looks at problems of power and representation within urban spaces, and Paul Dillinger, vice president of global product innovation at Levi Strauss & Co, tackles some of the sustainability issues facing the fashion industry. I hope Re-Made will strengthen your belief in design as a problem-solving tool for environmental and social challenges, a driving force for better principles and healthier behaviours. Design for Life feels like an appropriate – perhaps even overdue – evolution of Wallpaper’s initial tagline ‘The stuff that surrounds you’. Let’s use this as a platform to re-think, re-connect and re-make. Sarah Douglas, Editor-in-Chief
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CHAIR 118 SEBASTIAN HERKNER
thonet.de
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Wallpaper* Re-Made is where we bring together the best and the brightest – designers, architects, artists, technologists, scientists, makers and manufacturers – to re-think the possible. It’s a space to imagine ways of making and doing that are kinder, smarter, cleaner, and less exploitative of people and resources. It’s been a long time in the making. For the last ten years, this issue has been a celebration of the Wallpaper* Handmade exhibition. A showcase for creative collaborations, high craft and smart engineering, Handmade had a great run and we are proud of what it achieved. But we knew it was time to push that model in a new direction and set new challenges. Re-Made is an ideas lab intent on tackling fundamental problems: fixing our broken relationship with the things we buy and use; ensuring they have the longest lives possible, and short and happy afterlives; limiting the environmental cost of the way we move and the places we live and work; exploring the possibilities for circularity in manufacturing and materials; and providing equitable access to creative education and professional opportunities. This issue looks at 23 Re-Made projects that we will present in Milan next year, during Salone del Mobile. They are works in progress. There are problems left to solve, processes to devise, materials to explore, dead ends to back out of, and new routes to establish. And they make something very clear. There are no easy wins, no single big fixes. But there are ways to do things better and the energy, ingenuity and will to try. Made
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BLACK YELLOW MAGENTA CYAN 93WPR20AUG104.pgs 25.06.2020 21:25 Conceptual images, featuring and art directed by Timon & Melchior Grau, offer a preview of their installation for our Re-Made exhibition in 2021, which will explore the emotive powers of fire and light
When we approached Timon & Melchior humans. In a wider sense, what makes expanding the capabilities of LED lighting, Grau to create a device that would alleviate humans really human is the way we reflect in terms of intensity, colour spectrum and seasonal affective disorder, we expected a our environment, and shape it in return. colour rendering index. Then there are lamp. Instead, the brothers went beyond the That’s what design essentially is,’ they say. practical questions to be answered: what sort call of duty to propose an installation at The idea of a SAD lamp – which emits a of light source, how it’s framed (glass, because our upcoming Milan exhibition, exploring strong bright light to soothe the winter blues – of the role that fire plays in shaping it, but the emotive and therapeutic qualities of light. had the brothers thinking about fire, a in what form?), how it’s manipulated, and Timon and Melchior are the sons of natural element that was tamed by early whether it responds to the movements of designer Tobias Grau, founder of the humans to become a source of artificial visitors. On these points, the brothers are eponymous German lighting label. Taking the lighting. Beyond visibility and warmth, fire reluctant to divulge details before they’re creative reins of the family business in 2017, also offers strong emotional connotations: further along their design process. They are, they’ve since reinvented its visual identity ‘from love and freedom, to power and danger’, however, unequivocal about their ambition and picked up a Wallpaper* Design Award for they say. For Re-Made, they are combining to inspire awareness of the transformative their first lighting design, the cordless ‘Parrot’ their talents in design and art to create an powers of light. ‘Light can transform spaces, lamp (W*250). But they’re also an artist duo installation titled ‘Fire’, using artificial light so they appear different, so they feel different, in their own right, and recently participated sources to convey the same moods as a flame. so they react differently to the person inside,’ in a group show organised by the Berlin Behind this sensorial goal lies a series they conclude. ‘It’s much more than lighting gallerist Robert Grunenberg. ‘Our art practice of technological challenges, which the up a space and enhancing visibility.’ ∂ reflects a lot on the influence of design on Tobias Grau brand is well placed to take on: grau01.com; tobiasgrau.com
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BLACK YELLOW MAGENTA CYAN Art Light
Timoninstallation & Melchior Grau’s conceptual SAD lamp packs an emotional punch PHOTOGRAPHY: PAUL HUTCHINSON WRITER: TF CHAN
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The sofa, made from Limonta fabric left over from fashion designs, is light and easy to move around. Its form, conceived by Muller Van Severen, is inspired by Kassl Editions’ bag designs
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BLACK YELLOW MAGENTA CYAN For a small fashion brand, Kassl Editions has big ideas. Launched in 2017 – by fashion agent Bart Ramakers and colleague Charlotte Schreuder, Antwerp concept store Graanmarkt 13 founders Tim Van Geloven and Ilse Cornelissens, and former Delvaux CEO Christian Salez – the label embraces the ethos of ‘doing one thing and doing it well’. Since their first piece, minimalist outerwear inspired by an old fisherman’s coat, the founders have been experimenting with oiled cotton canvas, each season creating variations on a theme. Then they introduced padded bags made in an oil-coated cotton from Italian textile weaver Limonta, left over from the production of coats (the bags are now so successful, some fabric also has to be ordered in to supplement the supply). The bags became the starting point for Kassl Editions’ next idea: a multipurpose piece of furniture with a modular design made from durable materials. To develop the concept, Cornelissens and her team enlisted Belgian design duo Muller Van Severen. ‘Fien Muller and I had been discussing a collaboration for some time,’ Cornelissens says. She and Van Geloven had bought the ‘Crossed Double Seat’, from one of the designers’ early collections, for their home. The two couples had since become friends, and Muller Van Severen’s work for Valerie Objects is available through Graanmarkt 13. ‘After the launch of our bags, we felt it was time to start thinking about something in between fashion and interiors,’ continues Cornelissens. ‘We had a meeting with Fien and Hannes [Van Severen], and I brought three bags with me. We were discussing something modular, something movable, something easy. The bags were piled in the »
Modular sofa Surplus fashion fabric finds new life in playful seating by Muller Van Severen and Kassl Editions
RENDER: FIEN MULLER WRITER: ROSA BERTOLI
93WPR20AUG137.pgs 24.06.2020 16:32 Design
Above, a render of the modular design, which grew from the idea of bags stacked like cushions to form a seat and a backrest. The cushions are held together by integral bands, photographed left, and feature a playful colour palette, as detailed in the sketch by Muller Van Severen, below
corner of the room and all of a sudden will find resonance in a post-pandemic world. Hannes started drawing. Like always, ‘People have everything and nobody needs the first idea is the best!’ anything, so to evoke desire, you need radical Based on Van Severen’s sketch, the sofa quality: one item that lasts for a lifetime,’ (the first by the Belgian studio) is simple in she says. ‘This is our opportunity to make a its execution: it is essentially made of three positive change in fashion. We are joining bags that attach to each other, forming an forces with many others in the industry right archetypal seat and back structure. The single now to set aside previous rules and align our module works as a solo seat, or as the starting decisions with our values.’ point for a composition of multiples. From a design perspective, Muller shares The leftover Limonta fabric was the start this sentiment: ‘We don’t want to make of the design process. ‘The way the fabric objects that are being replaced after a few falls brought us to the idea of this type of years. We want to create things that you buy sofa,’ says Muller. It’s the flow of the textile, to keep and pass on to your children.’ she adds, that brings together the worlds The collaboration is now continuing of fashion and design. ‘You want to feel the with a new, even more portable design on fabric, lie in it or even hide in it.’ the cards in time for Wallpaper’s Re-Made The modular structure allowed the exhibition in Milan next April. ‘We would designers to play with colour, creating like to develop something that is light, chromatic compositions in a palette of black, easy and usable both indoors and out,’ says white and camel, accented with sky blue, Cornelissens, adding that the team is navy, green and bordeaux. experimenting with hammocks and mats. For Cornelissens, the design and concept Meanwhile, the sofa is set to become an embody her idea of a contemporary lifestyle. integral part of the Kassl Editions offering. ‘It feels like something really new,’ she says. When asked about a favourite moment in the ‘You can use this sofa in your home, but also project so far, the collaborators mention their take it outside and read a book on it. children enjoying the piece, whether they Functional, comfortable, sustainable and played with it during development, or tried multi-usable design is future living for me.’ it at home. ‘I already miss it, the kids loved it. Cornelissens applies the same approach That says something to me,’ says Muller. ∂ to Kassl Editions’ fashion line, and believes it mullervanseveren.be; kassleditions.com
030 ∑ PHOTOGRAPHY: MARTINA BJORN RENDER: FIEN MULLER
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Water fountain Artist and designer Yasmin Bawa teams with Axor to get both sculptural and functional with hempcrete PHOTOGRAPHY: MARINA DENISOVA WRITER: ROSA BERTOLI
BLACK YELLOW MAGENTA CYAN Yasmin Bawa inspects the sculpted curves that house a spout of her unfinished hempcrete fountain, above. Its base is made up of various hempcrete components, seen in progress in Bawa’s Berlin studio, opposite
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93WPR20AUG122.pgs 24.06.2020 15:32 Far left, the fountain is shaped from hempcrete, a mixture of the chopped-up core of the plant and lime, which is then coated in lime and clay plaster Left, initial ideas for the piece include fountains at two heights, the lower accessible to wheelchair users
f you know anything about hempcrete, it’s probably mission was to understand Yasmin’s approach, her because of Yasmin Bawa. The Berlin-based artist material, her first ideas, and then to see how we could Iand designer has become a sort of spokesperson make that happen with the technology and innovations for the hemp-based composite material, demonstrating we already had available,’ continues Holzer. its potential in a quiet but appealing way. His team and Bawa had weekly calls. Bawa’s artistic, Bawa discovered hempcrete a few years ago and was free-form process met Axor’s rigorous approach to instantly hooked. The former accessories designer had product development. The designer researched left her job at fashion brand Acne in 2015 to pursue fountains, and the use of communal water pumps in personal creative projects, moving from Stockholm to contemporary communities, both as a way to reduce Berlin. ‘I used this time to research what I wanted to plastic waste and as a shared resource. This she create. What inspired me was this grey zone between combined with her ongoing research into the sculpture art, sculpture and functional design, creating objects of Joan Miró, Henry Moore and Danish modernist that fit both the physical and poetic needs of the user.’ Sonja Ferlov Mancoba, among others. She started looking into alternative materials for Hempcrete is at the heart of the project. Bawa’s sculpting, and discovered hempcrete while researching process mixes hemp shiv (the chopped-up core of the house construction online (‘I have larger dreams of plant) with lime, then uses this material to hand-build building a house,’ she says). A family had built their a structure that, once dry, she covers in a mix of lime home in hempcrete with pleasing results: ‘The house and clay plaster before adding a textured or polished itself and the quality of the lime plaster finishes were finish. ‘We were a bit worried in the beginning, because just beautiful,’ recalls Bawa. we didn’t have experience of pairing this material with Hempcrete is a mixture of hemp, one of the world’s water,’ says Holzer. ‘But its natural aspect and its strongest natural fibres, with clay and lime binder. flexibility triggered our exploratory urge.’ Industrial hemp (varieties grown for non-drug use) Challenges have included the need to incorporate requires approximately half the water needed to grow very technical elements into the sculptural design, and cotton, and its plant absorbs more carbon dioxide the desire to create a piece that is wheelchair accessible. per hectare than trees: an environmental win-win. ‘I also realised I wanted to create some features that Intrigued by hempcrete’s potential and by Bawa’s would bring a sense of lightness,’ adds Bawa, pointing monolithic forms, Wallpaper* tasked the designer with to the circular shapes concealing the spouts. The initial creating a fountain, a sculptural bottle-filling station design features two distinct fountains made of stacked made from her signature material. For the technical volumes, each with water features at different heights. expertise to bring the project to life, we called on Bawa has been experimenting with rough and smooth water-flow specialist Axor. ‘I saw a great chance for finishes. For the final colour, she used waste material Axor to feature its competencies,’ says Benjamin from a local cannabidiol manufacturer, a green powder Holzer, the brand’s head of product management. ‘We she mixed with pigment for a speckled effect. liked the sustainability aspect, but also the idea of The piece will be further refined and assessed, with designing something meaningful for the future, which a functional fountain ready to be used in Milan in April examines our relationship to the objects we use.’ 2021. As the first public drinking station made by Axor, Although Axor is not new to design collaborations – its and perhaps Bawa’s most ambitious project to date, collections are created by the likes of Barber Osgerby, it not only explores the potential of hempcrete as a Philippe Starck and Patricia Urquiola – a project with building material, but also gives new, experimental an up-and-coming creative who had never worked with form to issues of circularity and waste. ∂ water felt at once a challenge and an opportunity. ‘Our yasminbawa.com; axor-design.com
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BLACK YELLOW MAGENTA CYAN 93WPR20AUG186.pgs 18.06.2020 09:07 Wellness
Inspired by Ayurvedic treatments that harness the cosmetic and nourishing properties of food, Doshi Levien’s Beauty Kitchen encourages the use of readily available ingredients, tools and utensils to create homemade natural skincare with zero packaging
When Doshi Levien first thought up its they have. Gardening, in particular, has seen Beauty Kitchen concept, we weren’t using a boom.’ Inspired by Ayurvedic treatments, Beauty our homes half as much we have been over Nipa Doshi has been devising recipes and the past months during Covid-19. The formulas that use items like chickpea flour, London design studio was keen to re-think turmeric, milk and lemon to create face chemically boosted skincare wrapped in masks and scrubs. Kitchen utensils and kitchen excess packaging, and investigate how we can locally sourced tools and materials, such as use natural ingredients to cut, smash and marble offcuts, can then be used to transform Doshi Levien’s homemade grind our own. ‘The idea is more relevant ingredients into life-enhancing products. natural skincare than it was when we first proposed it for The kitchen becomes not only a place to Re-Made,’ says Jonathan Levien when we talk prepare food to eat, but also a lab to create on Skype. ‘People are doing more activities at everyday rituals of personal care. ∂ home, and getting creative with the resources doshilevien.com
DRAWING: NIPA DOSHI WRITER: SUJATA BURMAN ∑ 037
BLACK YELLOW MAGENTA CYAN 93WPR20AUG114.pgs 25.06.2020 11:29 This page and opposite, renders show Grcic’s vision for the recycled aluminium Hydro-Truck, as he is provisionally calling it, a simple electric trike with a battery set behind the saddle stem, and a roomy articulated trailer
BLACK YELLOW MAGENTA CYAN Renders: Konstantin Grcic Design The Covid-19 crisisseems to have putakink Konstantin Grcic’s designsfor anew kind of first namesonourwish list of collaborators, flexible, super-functional trailer pulled by an already goodideasmore vital andurgent. electric trike –isthat kindofidea. delivery vehicle –alightweight, simple, of Re-Made, Grcic was inevitably amongthe tipped tipping-points. It hasmadewhat were re-directed existing trends, prematurely in history, compacted time, accelerated and When we first started plotting the launch electric performance car maker Polestar machine not-so-mean pedaltheirclean, Konstantin Grcic, aluminiumproducer Hydro, e-motorbike pioneerCake and E-trike andtrailer And Berlin-based Grcic isnotjust a with bignumbers. was vital, that whatever we cameup with had avowedly industrial designer. Grcic works and the first to signup. We knew scalability collaborator –seemedlike agoodfit. Hydro like Grcic, aveteran Wallpaper the Norwegian aluminiumproduction giant– to and viable bepossible inmany multiples. process that Grcic could runwith. Hydro, premier leagueproduct designer, heisan Then we neededamaker, amaterial anda WRITER: NICK COMPTON * Handmade 75 percent scrap. post-consumer well As (Aluminium Its aluminiumcanbefound inbuildings, aluminium requires just five per cent of as avoiding the environmental impactof aluminium. Hydro Circal 75R isatleast extraction, the production ofrecycled the energy required for aluminium. primary has 35,000 employees in40 countries. in anddeveloping recycled andlower-carbon much everywhere. It beeninvesting hasalso boats, cars andmuch more andpretty 93WPR20AUG132.pgs 24.06.2020 17:19
recycling isnothing new, of Transport ∑ »
039 BLACK ‘I’m familiar with analuminiumprofile US duringthe SecondWorld War. It is UK inthe early 1990sandfirst employed on CO2-equivalents perkilogram ofaluminium, was ahugealuminium recycling drive inthe was intriguedby aproduction process called which are allrunonrenewable energy, about whatabout hecould dowith Hydro’s more a quarter ofthe norm. aluminium atleast hasalower carbon aluminium ever produced isstill inuse.) an industrial scaleby Hydro. The technique estimated that almost75 percent of environmentally conscious aluminium.He demand. Hydro’s Reduxa primary course. The material canbeinfinitely out exclusively atHydro’s Norwegian plants, creates heatthrough friction. togethercan befused by arotating tool that the manufacture ofReduxa creates 4kg recycled without inquality, aloss andthere means that two pieces ofaluminiumalloy supplies ofrecycled aluminiumto meet friction stir welding (FSW), developed inthe footprint than the industry average. Carried YELLOW Transport ‘That was the‘That spark ofthe idea,’ says Grcic. Unfortunately, there aren’t sufficient Suitably matched, Grcic gotto thinking MAGENTA CYAN Welding aluminiumisnoteasy becauseofits Hilde Kallevig, Hydro’s headofgroup brand another material, andasustainability benefit, and marketing. ‘And, of course, there are discussed what we could dowith that. We developed FSW for the shipbuilding industry easier itisto recycle.’ don’t getthose ugly joinsthat you have to could have taken itto anarchitectural scale, cost benefits, because you don’t have to add creates the ofheatfor rightdoses what you casting andallthat, butIhadn’t heard of live with ormachine away.’ high conductivity. Butfrictionstir welding thought, OK,let’s designsomething that is that made gooduseofthat process. ‘Hydro made upofwelded-together profiles.So we in order to create large aluminiumplatforms, it just melts the material together,’ says it’sneed. So avery precise, very clean way of manages to keep the heatvery localand friction stir welding. Ilooked So into it. but, inthe end,we are notarchitects. I So because the fewer materials you use, the by this technique becauseitfeels like bringing aluminiumpieces together. Andyou ‘Every designerItalk to isfascinated Now Grcic hadto come upwith adesign ‘You could deliver This core designwas kept assimple and 1.6m-long trike by anda2.4m 1.4m Italy in1948 andstill inusethere andaround with pedals upfront andbatteries connected wheeler, madeentirely ofaluminiumprofiles, a three-wheeled minivan first produced in a driver’s cabin, asuspensionsystem andeven articulated trailer, with alarge battery pack economical aspossible, though Grcic or similardelivery van andsmallerpedal- construction. we So decided to lookatthe of furniture. Andaluminiumisstrong and to the rear wheels. the world –was three- for asingle-unit taking inspiration from the Piaggio Ape, typology ofcargo bikes.’ lightweight and perfect for vehicle utilitarian electric-powered delivery vehicle, powered mobileboxes. His originaldesign– imagined that covers for the loading area, now housedbehindthe trike’s saddlestem. scaled somewhere between the UPS/Amazon smaller than ahousebutbigger than apiece solar panelscouldsolar beaddedifrequired. or vegetable stall. It bike delivery vehicles; have DHL andUPS furniture with itorturn it into anicecream van could beanything really’ ‘Other people are developing these e-cargo An updated designseparated the Grcic started to develop the ideaofa
Photography: Hydro/Jarle Andersen, Hydro done them, Deutsche Post, too,’ says Grcic. drivetrain and work out what kind of battery were suitably charged up, connected and ‘But they are designing them exactly for their we would need to pull a fully loaded qualified to take the idea forward. Talk needs. Our idea was to create something Hydro-Truck – and Grcic imagined loads of quickly turned to gaps in the market, Hydro- much simpler, more adaptable and not so somewhere between 200kg and 500kg – up Truck’s potential appeal everywhere from purpose-made; to offer a very basic chassis a hill in San Francisco. We would also need New York to New Delhi, possible ownership that people could then play with. And you someone who could help us put a working and rental models, whether the truck needed could deliver furniture with it or turn it into prototype together using Hydro’s parts. But pedals, and the possibility that solar panels an ice cream van or vegetable stall. It could we had what felt like a simple yet compelling could unplug it from the grid. be anything really.’ idea, now extra-ripe with promise and Ingenlath suggested that a team of We began this project before the Covid-19 potential. And we used it to pull in not one engineers who joined Polestar from its sister crisis. And since then, bicycle sales around but two perfect partners. brand LEVC (the London Electric Vehicle the world have boomed: first as people looked Thomas Ingenlath, the former design Company, the firm behind the new electrified for ways to take exercise and enjoy roads chief at Volkswagen and Volvo, is now black cab) could work with Hydro on the emptier of cars and vans than they had been CEO of Polestar, Volvo’s standalone practicalities of manufacturing. LEVC’s since the 1950s; and then as a way to avoid performance electric vehicle brand. He also TX Electric Taxi has an entirely aluminium public transport as they slowly returned to studied industrial design alongside Grcic frame. Meanwhile, Ytterborn and Grcic could work. And cities, London, New York and at the RCA in London. The pair had lost refine the design and work on developing the Milan included, have looked at ways to make touch but followed each other’s careers at battery and drivetrain. the shift to pedal power more permanent a distance. Polestar has also been developing Hydro-Truck, everyone agreed, could go and avoid combustion engines returning to strategic links with Cake, a maker of places (even if exactly how was still in the the streets in the same, if not greater, beautifully designed e-bikes and electric works). ‘There’s a whole casserole full of numbers than before the crisis. A switch to motorbikes, founded in 2016 by Stefan good ingredients there that we can use to electric bikes and light electric vehicles is Ytterborn and, like Polestar, based in create storytelling around the truck,’ says seen as central to this cleaner restart for Gothenburg. A serial design entrepreneur, Kallevig. ‘Now we have to create a prototype urban transport. The Hydro-Truck, as Grcic Ytterborn founded the cycle helmet that is affordable, manufacturable and has provisionally tagged it, suddenly has company POC, another Wallpaper* favourite, more sustainable.’ fresh and serious momentum. in 2004. A former Ikea designer, he launched Ytterborn is positive that can happen, From the beginning of the project, though, the design agency Ytterborn & Fuentes in with an eye to Wallpaper’s 2021 exhibition it was clear that at some point we would need 1996. The agency’s clients included Iittala, during Salone del Mobile: ‘I’m absolutely extra input, expertise and manufacturing leading to a collaboration with a certain convinced that we can get to Milan and show muscle, a company at the forefront of Konstantin Grcic. something that makes a difference’. ∂ research and development of battery power Reintroductions made, it quickly became konstantin-grcic.com; hydro.com; ridecake.com; and electric vehicles. We had to develop a clear that there was now a team in place who polestar.com
Right, the friction stir welding of aluminium at a Hydro facility in Fingspång, Norway. Grcic was attracted to the technique, which is used to join together pieces of aluminium without the need for filler material and at a relatively low temperature, making for a clean, strong finish Opposite, aiming to produce aluminium as cleanly as possible, Hydro generates renewable energy, such as at its Vigelandsfoss plant on Norway’s Otra River, in order to power its refineries
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A render shows PriestmanGoode’s vision for the alternative food delivery bag and re-usable containers, designed using the studio’s pick of innovative, planet-friendly materials from a range of collaborators
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1. BAG LID 2. HANDLES FOR FOOD 3. BAG STRUCTURE IN PIÑATEX, BY ANANAS ANAM CONTAINERS AND BAG IN NUATAN, BY CRAFTING PLASTICS STUDIO Ethical entrepreneur and Ananas Anam founder IN LEXCELL, MADE WITH YULEX, To create its oil-free bioplastic, interdisciplinary Dr Carmen Hijosa developed this natural, BY EUPHOAM designers Crafting Plastics Studio, based non-woven substrate made from an existing Developed by US company Euphoam as an between Berlin and Bratislava, collaborated with by-product of pineapple agriculture – pineapple alternative to environmentally hostile neoprene, the Slovak University of Technology and research leaf fibres. Piñatex, which has already been Lexcell is a high-performing, plant-based company Panara. Nuatan, as the material is used widely in the fashion industry, not only material, often used for sports items, from yoga called, can withstand temperatures of more provides a viable, pliable, breathable and mats to wetsuits. The closed-cell foam – created than 100°C, is highly durable and can fully water-resistant alternative to leather, but also by purifying natural rubber in a process called biodegrade in industrial compost with no offers a second stream of income for those Yulex – is laminated in fabrics made from microplastic residue. working in pineapple agriculture. recycled yarn using water-based adhesive. craftingplastics.com ananas-anam.com euphoam.com; yulex.com 4. FOOD CONTAINER STRUCTURE 5. INSULATION 6. CLING FILM IN COCOA_001, BY PAULA NERLICH IN MYCELIUM, BY TYˆ SYML IN DESINTEGRA.ME, BY MARGARITA TALEP Using circular design principles, Berlin-based This experimental Cardiff-based design studio The Chile-based designer has created an designer Paula Nerlich demonstrates how food seeks responsible solutions to ever-increasing alternative to single-use plastics using agar, a production surplus can be used as a resource packaging waste. Created using the root system polysaccharide extracted from red algae. Using for new products. Her Cocoa_001 bioplastic is of mushrooms combined with waste such as an all-natural composite including extracts from created with vegan and biodegradable materials, wood chips, brewers’ spent grain, textiles and the skin of discarded fruit and vegetables, the including 50 per cent from industrial chocolate paper, its mycelium is a strong, lightweight, material can be tailored to create both rigid and production waste, and is water-repellent and 100 per cent natural, recyclable and fully elastic structures. It takes three to four months washable. For this project, Nerlich has also compostable material. For this project, the to degrade, without the need for industrial explored using other food production waste, studio is developing a mycelium alternative composting. Here, it will be used like cling film, such as potato peel and avocado seeds. to Styrofoam, with thermal properties. pressed between containers to keep food fresh. paulanerlich.com tysyml.co.uk margaritatalep.com
BLACK YELLOW MAGENTA CYAN Render: PriestmanGoode packaging Food delivery trialling aseaweed-lined container. packagingan eco-friendly range, andJust Eatis for aslice ofsustainable pie–Deliveroo haslaunched of change. The takeaway titans are beginningto vie intensifying war onwaste hasbrought mumblings to cutlery, down to sachets ofsauce. Butthe another ingredient: plastic, andlots ofit, from boxes, delivery andtakeaway market atover $53bn. released in2019 valued the globalonlinefood deliverers mobilisedatthe tap ofascreen. Areport and asmallarmy ofbox-bagged, traffic-dodging centralised buffets formula athome, ofon-demand decade. With smartphone appscameaseamless, Food takeaway deliveries have inthe boomed past curb plastic waste (W for ‘Get Onboard’, anin-flight mealtraysolution to increasingly concerned andconscious their about director ofstrategy atPriestmanGoode. ‘People are becoming planet centric, too,’ says Jo Rowan, associate designasuser-centric,about andincreasingly it’s and recruits like mindsto re-think thefuture ofthetakeaway putsmaterialPriestmanGoode responsibility onthemenu year, the designers baggeda Wallpaper first foray into more responsible food ware. Earlier this and sustainability. Andthe Re-Made project isnotits projectsand future-thinking that focus onaccessibility interiors, trains, high-speed consumer small-scale goods conception in1989, its portfolio hasincluded aircraft pressing andcomplex designchallenges. Since its not disposable. circular design,andto make packaging desirable, aiming to change consumer behaviour through to re-thinkthe entire takeaway food delivery system, material partners, ithasdevised aholistic solution the table. In collaboration with aseriesofsustainable PriestmanGoode hasn’t just brought anew boxto Re-Made, industrial designagency London-based WRITER: HARRIET LLOYD-SMITH In its aptly-titled ‘Zero’ concept for Wallpaper With convenience, rapidity andchoice came PriestmanGoode isnostranger to confronting * 251). ‘We always usedto think * Design Award Design *
packaging overall. These slot neatly into lightweight fewer lidsare required, andasmalleramountof quantity requirements. The containers stack, meaning production industry, andcanbearranged to suit Paula Nerlich usingby-products from the chocolate ofabioplasticbe composed designedby Berlin-based dishwasher-proof dishes –including apizzabox –will tiered, bento-style food boxes. These slick, ribbed, alternative developed by US company Euphoam. in Lexcell, madewith Yulex, aplant-based neoprene AnanasAnam.HandlesLondon-based willbeproduced cellulose fibres from pineapple leaves, developed by Piñatex, anatural leather alternative comprising the impact ofbeingdropped. Its lidisto bemadeusing has beendesignedto withstand hightemperatures and specialises inthe development ofbioplastics. The bag a BerlinandBratislava-based designstudio that renewable raw resources madeby Crafting Plastics, rider’s bike, 100percent willbeformed ofbio-based, materials kindof selectthemselves.’ you list allthe‘When properties that you need,the head ofcolour, materials andfinish at PriestmanGoode. compostable orreused,’ says Maria Kafel-Bentkowska, products andwould bebiodegradable, commercially from renewable sources, orwere ofby- composed ‘Our criteria were that the materials either came from transit durability to temperature control. of sixmaterials, each handpicked for their attributes, After rigorous research, the team settled onamenu suitable food-safe plastic alternatives for each element. one material that could doeverything, butthe most bag. For PriestmanGoode, itwasn’t finding about planet-friendly food containers andadelivery rider to explore adifferent behaviour.’ environmental habits andwe felt designhadaplace The bag contains acompact stack ofcylindrical, The delivery bag, which willniftily attach to the The ‘Zero’ concept comprises arange ofreusable, 93WPR20AUG127.pgs 24.06.2020 17:54 »
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Sketches, prototypes and material samples are perused at PriestmanGoode. The containers are intended to stack, meaning fewer lids will be needed, and to look appealing to serve and display food on the table
mycelium insulators, which will be created by Tŷ Syml, But aesthetics alone aren’t enough to re-think a single- an experimental design studio based in Cardiff, from use plastic culture. Rewards and penalties – the carrot industrial waste. The team also selected material and the stick – could be vital to success, recent history designer Margarita Talep, who will create an algae- has proved. Think the reusable cups’ discount at major based alternative to single-use plastics (such as cling coffee chains, exchanging plastic bottles for travel credit film) to prevent leaks and spills and keep food fresh. on the Rome Metro or even the 5p (and subsequently This closed-loop system applies not only to the 10p) plastic bag charge brought into England in 2015, materials, but to the entire takeaway process. Once which reduced plastic bag consumption by 90 per cent. customers have finished with their packaging, it can ‘It’s not just that it’s 5p; it’s the guilt. It’s the mindset be washed and returned to the food provider for a of being penalised for something,’ says Rowan. second, industrial, food-safe clean before being looped Incentives are built into the ‘Zero’ concept. back into the system. Customers will pay a ‘sustainability deposit’ upon But circularity presents its own set of challenges ordering food, which will be reimbursed once containers in the wake of Covid-19 and, for the foreseeable future, are returned to the delivery service. There will be a hygiene and safety will top the food sector agenda. reward scheme – such as discounts on future orders – Though this project was conceived before the for those returning packaging. ‘One of the drivers of this pandemic took hold, PriestmanGoode has focused project was looking at the monetary value of recycling on how to adapt its project to the new reality without culture in European countries. That’s a system that has losing sight of the core goal. The team have been worked well in incentivising people to think about the in conversations about creating planet-friendly way they dispose of or reuse things,’ says Rowan. antimicrobial coatings to apply to materials to enhance There is no doubt that the takeaway food delivery safety. ‘We cannot focus on hygiene at the expense sector needs to wrap its mind, and packaging, around of the environment; the two things have to go hand a new system. A meal may take 30 minutes to arrive, in hand,’ says Rowan. but the plastic it includes may take up to 1,000 years to ‘Zero’ also brings a solution to the historically disappear. A circular concept like ‘Zero’ may just be an less-than-sightly takeaway packaging aesthetic. ‘This answer for takeaway food deliveries and beyond. It’s a was about creating something that felt more like dishes chance to call last orders on an industry whose plastic you have in a restaurant and can use to display food,’ use is nearing its expiry date, and offer a formula its says Rowan. ‘Something that can contribute to a sense users will want to bring to the table. ∂ of occasion, that is beautiful, practical and sustainable.’ priestmangoode.com
‘We cannot focus on hygiene at the expense of the environment; the two things have to go hand in hand’
044 ∑ PHOTOGRAPHY: CAROLYN BROWN
BLACK YELLOW MAGENTA CYAN 93WPR20AUG128.pgs 24.06.2020 17:53 * Founded in St-Tropez in 1971 in St-Tropez Founded * Fondé à St-Tropez en 1971*
BLACK YELLOW MAGENTA CYAN 93WPR20AUG201.pgs 24.06.2020 13:40 This detail leaves no traces. Only shine.
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BLACK YELLOW MAGENTA CYAN 93WPR20AUG197.pgs 23.06.2020 11:09 Design Seedling incubator Phoebe English turns from fashion to food production
With her namesake label, fashion designer Phoebe English has ambitions to shift from merely sustainable design to regenerative design, to create self-replenishing systems of production. For Wallpaper* Re-Made, she brought this circular approach to the concept of a seedling incubator, ‘a space that can grow plants for consumption, with a self-watering and a self-heating system’, she says. It will be built from glass and metal, materials that can be repurposed multiple times. ‘As a clothing label, our priority is to use material from non- virgin sources. I hope we can build that into An initial sketch of this project.’ The incubator offers a tool for English’s glass and greater autonomy, and the hope of a gradual metal ‘self-contained growing space’, with migration from wasteful, unsustainable adjustable windows food supply systems. ∂ phoebeenglish.com for air circulation
Scented masks Ma-tt-er and Ponsont create a fragrant boost to wellbeing
Seetal Solanki, founder of London-based material research design studio Ma-tt-er, and Justin Vaughan, of scented paper brand Ponsont, have used innovative materials and fragrances to transform the face mask, currently a symbol of illness and anxiety, into an object of tranquillity and beauty that aims to help the user navigate the future. The masks come in three ‘archetypes’, to be worn in succession to inspire a meditative journey. ‘The Oracle’, in biodegradable coconut leather and coated in jasmine sambac absolute, Material research for cotton cord and prepares you for new experiences. It’s followed the masks includes, natural rubber, coconut clockwise from top leather (multicoloured), by ‘The Cartographer’, formed of fractionated left, bioplastic, coconut pineapple leather oils, and finally ‘The Composer’, a mixture leather (beige, beneath), (cream), lupine of natural and synthetic scents to ‘recompose’ tree bark, coconut fibreboard, and, centre, leather (maroon), casein and chalk plaster, your mind into a peaceful state.∂ pineapple leather (grey), and denim offcuts ma-tt-er.org; ponsont.com
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BLACK YELLOW MAGENTA CYAN 93WPR20AUG116.pgs 25.06.2020 16:55 Design
Create a more desirable future. Fast. This Called Common Good, the brand is framed is the aim of London-based creative collective within the studio’s newly formed Made Made Thought. When Wallpaper* invited Thought Labs, a division aimed at breaking the studio to work on a project that re-thinks industry conventions – working immersively how we recycle, we did not expect it would on new brands and products, as well as come up with a fully fledged brand, aimed collaborating with well-established at transforming how we consume in our corporations, not just from an aesthetic everyday lives. But Made Thought’s talent lies perspective, but re-thinking and re-inventing in creating and developing brands, so it was their business models to make positive natural that they would take this approach. change through creativity. ‘Our power lies ‘We see this as an opportunity to reinvent in behavioural change, how we can influence systems,’ says co-founder Ben Parker. His people,’ says Parker. goal when he started Made Thought with Common Good’s ecosystem of personal Paul Austin in 2000 was to bring together care items includes the razor (one of the intelligent thinking and beautifully crafted most evil bits of disposable plastic we use), design, which his team has done for clients waterless handwash and toothpaste, solid such as MoMA, Adidas and GF Smith. Over shampoo, hand cream, deodorant and the years, Made Thought has also developed feminine care. The brand will also be a decisive environmental slant, working with genderless, eschewing what they observe to clients that have a focus on circularity and be the industry’s appalling (and very dated) new systems (most recently with campaign gender bias. Every element will be created organisation A Plastic Planet). The studio responsibly; materials will be biodegradable hired a sustainability advisor in 2019. and include permanent containers for refills. For Wallpaper* Re-Made, the team are The most important element of Common focusing on reinventing the personal care Good is its accessibility. ‘If we influence space. They started by creating a B Corp people in the way they do things every day, (something they now advise all their clients we can encourage change,’ says Parker. to work towards) as ‘a ready-to-go brand that The brand is not so much focused on the delivers a system’. Their idea is to develop products themselves or their design ecologically responsible versions of products (created to be ‘differently familiar’), but on people use every day. ‘The first thing we do in communicating the key ideas behind its the morning is head to the bathroom, where launch. So as a starting point, the team have we have a plethora of stuff that goes into the created the graphic seen here, serving as an bin,’ says Parker. ‘The whole lot is moments advertisement of sorts that clearly illustrates away from ending up in landfill.’ Eco-friendly the thinking behind the concept. products shouldn’t be a privilege but a basic ‘We are consciously trying to bring necessity, he adds, so the team will make this into mass appeal,’ says Parker. ‘Our the brand accessible in terms of distribution energies should be used to make more and a price. ‘This way, the customer has no impact on the world.’ ∂ choice but to make a better choice.’ madethought.com Eco-aware personal care Creative collective Made Thought conceives a new brand to inspire better choices WRITER: ROSA BERTOLI
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BLACK YELLOW MAGENTA CYAN 93WPR20AUG107.pgs 24.06.2020 19:00 Widely endorsed by the medical community interested in their possible role helping with as a tool for aiding sleep and encouraging insomnia and reducing stress. ‘At the same Weighted relaxation among people with autism and time, we began to think of the blanket as a ADHD, weighted blankets have become sort of nomadic house, a thing of comfort increasingly popular for their purported you can carry with you,’ says Bellotti. therapeutic effects. Keen to explore this In addition to being well-versed in blanket further and create our own version, we called architectural structures and solid material upon the Rotterdam-based Studio Ossidiana, design, the pair also have recent experience Studio Ossidiana explores founded in 2015 by Giovanni Bellotti and working with textiles, including a colourful feathering future nests with Alessandra Covini. Working across multiple installation at Villa Necchi Campiglio in scales, they like to blur the boundary between Milan, and a research project working on a new forms of covering architecture, design and art, ‘focusing on the solar textile prototype. The blanket, they PHOTOGRAPHY: SZE-WING CHAN WRITER: ROSA BERTOLI materiality of things, but bearing in mind the say, was a great way to further develop the larger narratives, politics and geographies thinking behind the latter project. they reflect’. Their projects create alternative ‘We began by thinking of the two “scales” worlds through multisensory landscapes, as of the blanket: as the most intimate interior, seen in a recent playground for a school in the most comfortable retreat, and also the Utrecht, or their multiple habitats for birds. textile itself as a potential home, rolled out as Bellotti and Covini started researching a surface for a picnic, or folded into a canopy weighted blankets, becoming particularly or tent,’ says Bellotti. They also explored
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BLACK YELLOW MAGENTA CYAN Wellness
This page, Studio Ossidiana’s weighted textile can be used as a blanket, worn as a dress, or folded to create a canopy or tent Opposite, the studio took inspiration from a variety of sources, including The Magic Flute‘s Papageno, Sioux teepees, Ottoman tent palaces, and a timber-shingled shelter designed by Toyo Ito and Maki Onishi
‘We began to think of the blanket as a sort of nomadic house, a thing of comfort you can carry with you’
new material possibilities for the blanket: on one hand, it became a bird-like livery, to perfect its technical side, studying weighted blankets are normally filled with with the shingled surface mimicking a coat weight distribution, durability and ease of glass or plastic beads, and the pair took that of feathers to wear around the body. On use in its multiple functions. In the coming as a point of departure. ‘We could use seeds the other, the same surface was a nod to months, the designers will further develop to add weight, imagining it as a sort of garden buildings’ roofs and façades, the blanket the piece, working with material and you can sleep in,’ says Bellotti. becoming almost architectural in ambition. manufacturing collaborators to bring their In the studio, Bellotti and Covini started The project developed into ‘something vision to life. ‘We are interested in working prototyping with small paper and textile between a dress and a home’. This dual with seeds and materials of a horticultural models, creating origami folds and testing identity was shaped, or at least sharpened, nature – this will come through in our the various shapes’ resistance and stiffness. by domestic life during the Covid-19 crisis, choice of pigments for colouring,’ say the The weights are contained within a series of ‘a time in which our homes were becoming pair, who frequently experiment with spices textile shingles covering the blanket surface, both precious and public, as our existences and other organic powders. exposing the piece’s normally hidden powers. migrated online and our interiors were ‘Environmental concerns are not an issue Reference material for the blankets increasingly shared with others’, says Bellotti. that we can choose to address or not – they included Sioux teepees, Lina and Adolf Loos’ These new levels of seclusion and digital form a cultural and tangible backdrop to bedroom, a timber-shingled shelter designed scrutiny created a different focus for the everything we do,’ concludes Bellotti. ‘We by Toyo Ito and Maki Onishi, and Papageno, project, ‘the blanket as an intimate space, find that the most impactful way to address the feathered birdcatcher from The Magic and as a threshold to the outside world’. this is to address the material culture of our Flute. Through experimenting with shapes, While developing the narrative behind projects, almost as a project in itself.’ ∂ the blanket slowly took on a dual narrative: the object, the two have also been working studio-ossidiana.com
93WPR20AUG125.pgs 24.06.2020 22:27 BLACK YELLOW MAGENTA CYAN 93WPR20AUG198.pgs 23.06.2020 11:09 Architecture Urban gardening kit Milan studio Piuarch moves from green roofs to a multipurpose module for city dwellers, offering planting, workstation and wellness space in one
Milan has long been a city of secret gardens. In this Francesco Fresa believe that while the design Among Piuarch’s previous dense, industrial, grande dame of a metropolis, community is aware and engaged in the dialogue about urban gardening initiatives is Garden Among the composed of large apartment blocks and walled-off creating more green space in their city, there’s still Courtyards, created in 2015 palazzos, one of the great joys of wandering aimlessly is much to do. ‘It is not only about urban planning but on the studio’s own rooftop in accidentally discovering the planted clearings and also about subverting social, cultural and educational Milan. A modular system of courtyards that offer respite from its fabricated scenery. policies within the city and people,’ says Fresa. pallets makes for a network of pathways and wider spaces, Still, many such green spots remained private and Their Re-Made response? An urban gardener’s planted with vegetables, fruit, off-limits to most until recently, when more parks and survival kit, conceived as a design object that bridges aromatic plants and flowers community vegetable gardens slowly started to make functionality and aesthetics, while providing a much- an appearance. Milan Green Week in 2019 and local needed horticultural solution for city dwellers with no organisations such as Clever Cities and RoofMatters access to green spaces. The aim is to develop ‘a modular have been helping to foster sustainable practices in the totem of urban agriculture for individuals living in city, including a culture of green roofs. cities’, explains Fresa. ‘The module combines multiple Brera-based architecture studio Piuarch has been functions, becoming a sort of multi-tool, a place to cultivating its own planted roof since 2015, titled read, work, meditate, listen to music and work out.’ Garden Among the Courtyards – enhancing liveability, The practice is no stranger to exploring the wellbeing and social relations for both employees and environmental and social aspects of architecture. ‘For the local neighbourhood. Directors Germán us, the very concept of sustainability has many different
Photography: © Daniele Cavadini, Matteo Carassale Matteo © Daniele Cavadini, Photography: Fuenmayor, Gino Garbellini, Monica Tricario and meanings, not only in terms of energy and preserving »
WRITER: ELLIE STATHAKI ∑ 053
BLACK YELLOW MAGENTA CYAN 93WPR20AUG110.pgs 24.06.2020 20:15 BLACK 054 cabinet for multiple uses,’ says we Fresa. all ‘While enriching activities inasmallplace. It’s of asort as taking care ofwellbeing, andfostering healthy and plants andbringnature back into people’s lives, aswell envisioning amore sustainable future for all. part ofawiderdiscourse reimagining about citiesand nutritious food. For Piuarch, this Re-Made project is low-income neighbourhoods with limited access to ‘food deserts’,Chicago Public Schools, inthe so-called network ofurbanedible gardens onrooftops of gardening activities; andSynergy Gardens, a2018 children, involving them inplay-training andfood and empowering the localcommunity, especially in SãoPaulo, aimedatrestoring neglected urbanareas guarantees quality products; Espaço, a2018installation fosters biodiversity, improves the food supply chain and their own green roof, conceived asanecosystem that production. Examples include the vegetable garden on around urbanagriculture andsustainable food the humanandthe natural dimensions.’ smarter than ever. They are contact losing with both of losttheir senseofplace intheir attempt to be elements, too,’ says iswhy Fresa. ‘That citieshave kind the environment, butregarding landscapeandsocial LIGHT TOOL STORAGE SOUND AMPLIFIER SOLAR PANEL DRINK STAND TABLE AND OFFICE TOOLS with plantingspaceinthefold-out module Piuarch hasdevised ablueprintfor urban Solar power andacharging padmingle gardeners thatembraces multiplefunctions. YELLOW Architecture ∑ The team hasbeeninvolved inavariety ofprojects ‘The kitaimsatcreating adomestic‘The Edento grow MAGENTA CYAN piuarch.it raise awareness offood andecological choices.’ concludes Fresa. ‘It ischallenging, pleasant andhelpsto should beable to enjoy the benefitofurbanagriculture,’ intelligent packaging material, are appealingto explore. biocomposite plastics ortimber, oreven renewable, partner, andthey say that optionssuch asrecyclable The team are onthe huntfor the rightmanufacturing even the band. efficiencyof theold-schoolone-man that transform to accommodate arange ofuses, and station. Inspiration camefrom objects multifunctional telephone charger amplifier pad,sound and yoga mat with hydroponic system panels, andsolar atable, seats, furniture, which unfolds into alittle garden, complete can become apowerful tool,’ pointsoutFresa. small-space living –new meaningandimportance. ‘It lockdown hasgiven the concept –aproduct to improve hit, the Milan-based team’s recent experience of recent pandemic.’ basis. It canbeanissueoftime, space, money orthe everyone living inbigcitiesisable to dothat onadaily consuming healthy organic food, we know also that not agree onthe benefits ofopen-airactivities and ‘Everyone should have arooftop garden, everyone The kitcomes asasimple, totem-like piece of While the project was developed before Covid-19 HYDROPONIC SYSTEM WORKOUT TOOLS WIND INDICATOR ∂ 93WPR20AUG111.pgs 24.06.2020 20:16 LIBRARY SEAT
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BLACK YELLOW MAGENTA CYAN 93WPR20AUG189.pgs 18.06.2020 09:07 Left, Nina Bruun’s sketches for Design the packaging design, and mycelium samples from Grown Below and far right, Bruun works with product designer Reeta Laine at her studio to determine the packaging requirements for Astep’s ‘Model 2065’ lamp by Gino Sarfatti Centre, from top, elements of the mycelium packaging and the ‘Model 2065’ light; once the lighting has been transported safely, the team envisage individual elements being repurposed as planters, for example, or used as a fertiliser; further examples of mycelium packaging for the ‘Model 2065’ and a new light by Francesco Faccin
Mycelium packaging Designer Nina Bruun shapes biotech firm Grown’s mushroom-based material for the safe carriage of Astep lighting PHOTOGRAPHY: MIKKEL VIGHOLT PETERSEN WRITER: ROSA BERTOLI
One of the key aims of Wallpaper* Re-Made grandfather’s work. ‘While giving Astep a with a glass lampshade (a 1950s Gino Sarfatti is to re-think the way we consume, and sustainable focus, I had identified packaging design and the company’s bestseller); and packaging is a crucial link in this story. Last as one of the main problems,’ says Sarfatti. a new piece by Francesco Faccin, due to be year, a chat with Alessandro Sarfatti led to a He had already started changing things – launched later this year. discussion about what he perceived to be an using jute instead of plastic bags to protect But first, the science bit: mycelium (the important problem. Coming from a family of some glass elements, for example – but to roots of mushrooms) is fed agricultural waste, lighting experts (he is the grandson of design ensure safe delivery of fragile pieces, the bulk growing in a mould of the desired shape. legend Gino Sarfatti, of Arteluce, see W*218, of the packaging is still made up of plastics, Once the mould is filled (in four to five days), and son of Luceplan founder Riccardo including polystyrene foam. the form is baked to kill the roots, resulting Sarfatti), and founder of a lighting brand The fungus-based material mycelium in a sturdy, durable and solid volume. Berbee himself, he is well aware of the amount of seemed to be an ideal alternative to fossil- highlights its benefits: it has insulating and plastic needed to transport lighting pieces. based plastics, and a collaboration as part fire-retardant properties, is lightweight, Sarfatti, who used to be CEO of Luceplan, of Wallpaper* Re-Made offered the perfect shockproof, strong and abundant. What’s founded Astep in 2014, intent on creating opportunity to address a bad habit. So we more, every kilogram of mycelium traps lighting products with contemporary designs connected Sarfatti with Dutch mycelium 1.7kg of CO2 during the growth stage. and innovative technologies to improve our expert Jan Berbee, of biotechnology company Manufacturing 1kg of polystyrene produces domestic experience and quality of life. Grown. Then Danish designer Nina Bruun 3kg of CO2. So mycelium is the perfect This included a sophisticated approach to joined to develop practical, plastic-free candidate for the packaging of the future. sustainability, both with new products and, packaging for two pieces from Astep’s Mycelium produced by Grown for in partnership with Flos, reissues of his collection: ‘Model 2065’, a hanging light packaging is already used by skincare brand
BLACK YELLOW MAGENTA CYAN Renders: Nina Bruun Design Studio Hæckels (seeW considered notonly the protection and less waste,’ Bruunsays. She andherteam of aslittle material aspossible, to ensure andlimitationspossibilities ofthe process. a finished material, she was figuringout the potential. Rather than simply working with testing itto understand its behaviour and growing samples inherCopenhagenstudio, experts inthe field.’ The designer started [of my job]isto getwiserby working with design,’ says Bruun. ‘Oneofthe best parts materials that enable more sustainable her designexperiments with mycelium. says Berbee, who helpedto guideBruunin of plastic by embracing nature’s intelligence,’ life environment; itreduces CO2 andthe use proves that ourproduct canbeusedinareal- ‘We aimedto make packaging consist ‘It’s always interesting to explore new * 251). ‘Hæckels’ packaging says Sarfatti. ‘She studied ourproduct while designer’s rationality, which Ireally liked,’ the prototype,’ says Bruun. unknown factors right upuntilwe receive making ofthe packaging, there willbesome the‘Because material is“alive” duringthe Grown iscreating mouldsfor the mycelium. take onorganic forms. From Bruun’s designs, living nature ofmycelium andits ability to came upwith concepts that supported that.’ the mycelium for [growing] plants, andwe wanted to make itaseasy to aspossible use design enabled andencouraged this use. We fertiliser. ‘It was important to us that our or, once discarded, mycelium isanatural may bereused asplant pots, for example, the packaging afterwards. The containers transport ofAstep’s product butthe life of ‘Nina approached the problem with a The design ofthe packaging highlights the ninabruun.com; astep.design; grown.bio and usingthem willbe.’ like this, the easierthe process ofmaking the future. The more we work with materials will bemore accepted, valued andused in improvement. Butwe sincerely hopethat it Bruun. ‘Of course, there’s still room for they canbeusedfor massproduction,’ says materials are starting to reach where apoint mycelium: we’re thrilled to seehow organic the new packaging inthe field. design labgowell, Sarfatti willstart testing for useat alarger scale, ifthe final tests in the growth ofmycelium may make itimpractical by Faccin, Sarfatti adds. Andwhile the slow good fit Astep’sfor upcoming lighting release project felt like proper designdevelopment.’ learning from Grown. Working onthis ‘We’ve much learnedso by working with The packaging islooking to solution bea 93WPR20AUG124.pgs 24.06.2020 15:57 ∂ ∑ 057 BLACK 058 Future clothingbrand Vollebak’s electronic garbagewatch offers atimely solution to amountingproblem PHOTOGRAPHY: SUN LEE WRITER: NICK COMPTON watch E-waste afterlives objects, ofbeautiful tools andbuildings”. “reimaginingabout the many lives anduseful and challenge. Nick noted, was ‘There alineinthe brief brief andsuggested a watch designasasuitable unexplored territories. We threw them the Re-Made one isthe buildingblocks for the future.’ clothing. Oneisphysical enhancement today, and says Steve. iswhat unifiesour two ‘This strands of essentially goingto become physical enhancement,’ T-Shirt T-shirt, (‘part part worm food’). ‘Clothing is disease-resistant qualities), andthe PlantandAlgae and madefrom 65per cent recycled copper, it promises released FullMetal Jacket (three years inthe making Charged Jacket, theSleep Deep Cocoon, the just- offering, which includesSolar the glow-in-the-dark the more experimental, conceptual, future-focused using ceramics fibre. andcarbon And then there is exploring very hostileterrain) utilitarian gear, made There isthe everyday your everyday (if involves building their brand around those challenges. fastest when it’s buriedinthe earth?’ Now they are create?’ piece ofclothing and‘What candisappear longest-lasting piece ofclothing you could possibly found themselves consciously asking, ‘What’s the from the start. Duringdesignandproduction, the pair to creating more sustainable beenthere gearhasalso influences onproduct development. A commitment art, philosophy andmaterial technology askey Forces, space exploration, neuroscience, conceptual clothing for extreme conditions, andcredit the Special ultramarathoners, the Tidballs test, trialanddevelop Former TBWA creatives, andcommitted twin brothers Nick andSteve Tidball (seeW Vollebak was launched in2016by high-adventuring YELLOW ∑ We wanted to push the brothers even deeperinto Their outputisroughly split into two categories. MAGENTA CYAN * 205). ‘urban mined’from e-waste The ‘Garbage Watch’, above Agbogbloshie inGhana. Materials usedincludegold, extracted from circuit boards, of theCentre Pompidou in Paris, below left inside-out construction in Guangdong,China,and language references the and cables,whilethedesign computer chips,wiring copper andaluminium, composed from materials and opposite,would be silver, platinum,palladium, sites inplacessuchasGuiyu developing asafe, profitable method of‘urbanmining’ but accounts for 70percent ofits hazardous material. represents only two percent waste ofsolid inlandfill, ore. Butthough valuable, dangerous. itisalso E-waste would deliver 300timesmore goldthan atonne ofgold copper, andit’s estimated that atonne ofApple iPhones 60 elements, including gold,silver, platinum and produced every year. The average smartphone contains moment. Andmore than 50milliontonnes ofe-waste is feature I’d mountains seenabout ofelectronic waste.’ stuff that exists in the world. Then I remembered this And that drove meto think allthe about unwanted ends uplookinglike the onein working onastorytelling strategy, though. ‘If the world going to come offascynicalgreenwashing. He is sit comfortably within awiderbrand proposition is fair concern. Any sustainability initiative that doesn’t an obvious fitwith Vollebak’s brandpositioning. It’s a worse for ofthe some world’s poorest people.’ you don’t want to goinandactually make the situation knowing who the players are, andunderstanding that but itdoesmeanyou have to dive into itcarefully, says Steve. ‘It doesn’t meanyou shouldn’t dive into it, really rich area, politically complicated,’ butitisalso that come with tackling something like e-waste. ‘It’s a perhaps you can create aripple effect,’ says Nick. can create the tiniest new kindofdemand,then forge anew kindofmomentumaround its reuse. ‘If you is to celebrate the potential ofe-waste materials and and services ofthe Centre Pompidou inParis. The idea functionalism’, referencing the proudly out-there pipes digital –iswhat anddisposable Nick calls‘ultra-visible language –mechanical andcollectible rather than could beaway to make that happen. The watch’s design chains for e-waste materials. The ‘GarbageWatch’ the push for that could beinestablishing new value much widerstrategy for dealingwith the problem. And e-waste sites for metal extraction could bepartof a currently underway. small order butencouraging conversations are from e-waste, andthen actually make the watch. No investigate the practicalities ofsecuringprecious metals partner to helppullthe storytelling strands together, is no“away”, it’s just somewhere elsethat you can’t see.’ stuff away. And they were like,“Where is away?” There astronaut andanexplorer, the about ideaofthrowing able to have adventures. Iwas talking to two friends, an The World Economic Forum hassuggested that Only 20percent ofelectronics are recycled atthe Steve hasconcerns also that the e-waste story isn’t However, the pairunderstand the complexities The next stage ofthe project isfinding the right ∂ vollebak.com Wall-E , noonewould be
Model maker: Ben Millar. Photography: Franck Chazot/Explorer/Gamma-Rapho via Getty Images Design
93WPR20AUG134.pgs 25.06.2020 19:44 Shop now at store.wallpaper.com
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‘Foresta’ tabletop stand, Alias —— €200 ——
BLACK YELLOW MAGENTA CYAN 93WPR20AUG154.pgs 25.06.2020 18:05 1 Fashion
1. The work of artist Giorgio de Chirico was pivotal in providing inspiration for the Re-Made uniforms. His 1973 fountain in the Triennale museum garden in Milan’s Parco Sempione features sculptures of bathers, a beach ball and a bathing hut, and its foundation is painted yellow with brown chevron stripes 2. A pair of glass dishes, designed in the 1940s by Carlo Scarpa for Venini, offered inspiration for the uniforms’ buttons 3. Design sketches for the brooches and pins 4. Fabric swatches 5. Final sketch designs for ‘I’m interested in using the women’s uniforms made using an organic hard-wearing scraps, mixing together ticking stripe fabric overlaid with a chevron pattern lots of linear patterns’
2
5
3 4 Uniforms Roz Barr and Ssone’s de Chirico-inspired workwear for Re-Made’s Milan showcase
Architect Roz Barr has been thinking a lot in the gardens of the Triennale museum. with a chevron pattern, as a nod to de about fashion recently. Last year, her firm It features colourful sculptures of two Chirico’s original fountain design. ‘I’m redesigned Selfridges’ creative studios (see bathers, a beach ball, a bathing hut and interested in using scraps, mixing together W*246), and it is currently updating the a fish, and its foundation is painted yellow lots of linear patterns,’ she says. ‘We’re V&A’s Fashion Gallery. So she was a perfect with brown chevron stripes. looking at creating the zigzag detail using fit to design the uniforms for those on Barr made a deep dive into de Chirico’s hand painting or embroidery.’ duty at our Re-Made showcase in Milan works, finding affinity with sketches and The apron will be secured using a next year, working in collaboration with paintings of figures wearing tunics, which led colourful toggle, designed in ceramic or glass, sustainable fashion label Ssōne, whose to the idea of an apron design. With Ssōne’s inspired by the water element of the Bagni creations also have a uniform-like feel. creative director Caroline Smithson, Barr Misteriosi. ‘Working on the V&A Fashion For inspiration, Barr looked first to the researched utilitarian outfits, looking at Gallery commission got me thinking about architecture of Milan’s Bagni Misteriosi, a Irving Penn’s 1950s portraits of butchers, buttons and brooches,’ says Barr. ‘I liked the public pool and cultural destination, named painters and cleaners, sporting striped idea of something not quite kitsch, but after a work by artist Giorgio de Chirico. aprons, boiler suits and dungarees. Smithson, definitely decorative. The Bagni Misteriosi And then to a 1973 fountain, also called who prioritises using deadstock fabrics and fountain has a swan sculpture at its centre. Bagni Misteriosi, that de Chirico designed vintage materials, suggested using an organic The apron’s button would act as a similar
Photography/sketches: courtesy ©Triennale Milano – ©Triennale courtesy Photography/sketches: Barr Roz Chanticleer Studio/Cupio Gallery, Fotografico, Archivio for Parco Sempione, currently installed hard-wearing ticking stripe fabric overlaid kind of symbol.’ ∂ rozbarr.com; ssone.com
WRITER: LAURA HAWKINS ∑ 061
BLACK YELLOW MAGENTA CYAN 93WPR20AUG133.pgs 25.06.2020 11:26 TONKIN LIU’S IDEAS FOR USING RED MUD TILES OF VARIOUS GEOMETRIES AND ON VARIOUS SCALES TO REGENERATE WATERSIDE AREAS AND FOR GARDEN FEATURES 1. CONVEX CHIMNEY For wildflowers, shingle planting, and wildlife habitat
2. CONVEX WELL A cooling water feature or bird bath
3. CONCAVE CHIMNEY For shingle planting, embankment planting, and wildflowers
Coast River Garden 4. CONCAVE WELL A seat, reflective pool, or rock pool Red mud tiles A problematic waste product of aluminium turns planet-friendlier resource in the hands of designers ThusThat and architects Tonkin Liu
WRITER: ELLIE STATHAKI
Imagine a world where manufacturing is so Accidents involving the material have given and state, waiting for our imagination to efficient that waste products become coveted it a bad name, although advances have been transform them,’ says Liu. ‘This seems to sum material resources. UK-based design group made in its safe handling and treatment. up the spirit of Wallpaper* Re-Made.’ ThusThat is exploring just this reality with its Rouff and Böckelmann suggest reducing the The pair did their research. ‘There are research into ‘red mud’ – a by-product of the risk around it is crucial and possible. two distinct characteristics [of red mud],’ aluminium production process. Enter Tonkin Liu, the dynamic London continues Liu, ‘its vast quantity, and its The studio’s Kevin Rouff and Luis Paco architecture studio with a reputation for journey in the global landscape, where it is Böckelmann have been studying this curious bringing together solid, rigorous research, mined, processed, stored, and was in the past and previously fairly neglected by-product a beautiful, ethereal aesthetic and clean, discharged into rivers, estuaries or the sea. of industry. ‘To make aluminium, alumina modern, yet often organically inspired We decided to home in on its intriguing needs to be extracted from bauxite ore. The shapes. Principals Anna Liu and Mike Tonkin relationship with water.’ The sea, it turns out, residue of this refining process is red mud, have spent years developing approaches can offer a safe route for handling and using also known as bauxite residue,’ says Rouff. and techniques for efficient and effective red mud, as the water neutralises its alkalinity – ‘Decades of research are now coalescing, architectural designs. it just needs to be done in the right way so as perhaps due to the rise of material Their ‘Shell Lace Structure’ method, not to disturb aquatic life. consciousness. The gargantuan amount a sort of reverse engineering of the Tonkin Liu used its understanding of of red mud in landfill is beginning to be biomechanics of mollusc shells, has been geometry and structure to come up with seen as an abundant material resource.’ over ten years in development. Working with a new application for the material. The result? Red mud has been around since the structural engineers from Arup, and using A tile-like product with numerous uses: for late 19th century, when Carl Josef Bayer digital modelling, the pair worked out how the creation of garden water features; as a discovered the alumina-extraction process, to twist, fold, curve and perforate thin steel roofing material; and to build an environment and Bayer himself suggested ways of using sheets to create light but incredibly strong for plants and wildlife as part of coastal this waste. But 130 years later, ‘only about and organic-looking spans, beams and pillars. bioremediation. The design is scalable three per cent of it is being put to use, and When they heard of red mud’s potential, they and modular. Each tile is profiled and they mostly as road filler’, says Böckelmann. jumped at the opportunity to experiment. can be joined together to hold water There has been little economic incentive ‘Given the limited resources in our world, and habitat or let planting push through. to find an afterlife for red mud; particularly all waste materials should be regarded as The architects got together with as it is classified as a hazardous material. valuable materials, simply in the wrong shape ThusThat for a series of brainstorming
062 ∑
BLACK YELLOW MAGENTA CYAN Aerial photography: Google Earth Above, imagereveals aGoogleEarth vast red mudpits places, from factories to research facilities. story inthe landscape.’ something that tells red mud’s compelling just another commodity for consumers, but collaborate with ThusThat to develop not Tonkin. ‘At the moment, we are aspiringto to understand the economy ofscale,’ says challengesin identifying ahead.‘We need knowledge ofthe material hasbeencrucial experimentation. ThusThat’s expert methodology ofexploration and sessions, following their usualdesign is thoughttobegenerated eachyear. Below, aseriesof red mudceramic andglaze testsby ThusThat alongside analuminiumplantinAustralia, containing some ofthe150milliontonneswaste materialthat Red mudcanbesourced from various technique isreversed by first firing the cast concrete, orgeopolymers, where the fired inkilns. Butitcanalso work abitlike traditional clay, formed orcast, andfinally treated like ceramic –processed like a and its workability. From there, itcanbe the highest temperature itwillwithstand, the product’s ability to sinter asaceramic, matter. They then runtests to understand washsoak, andsieve itto remove unwanted paths oftreating the material. First the team ThusThat hasbeen working ontwo main material, then working itmechanically, thusthat.com; tonkinliu.co.uk in form, andaesthetics.’ function important to demonstrate the possibilities this. Projects such asthis collaboration are pull, anddesigners andarchitects are key to red mud,hesays, ‘we needto create the ubiquitous form we know today.’ To develop millennia before itwas modified to the Ancient Rome, butittook nearly two to develop; cement hasbeeninusesince ‘But amaterial’s narrative takes alongtime and architectural sector,’ says Böckelmann. applicationsin large-scale ofthe construction but there are other exciting possibilities. revitalisation isdearto the architects’ hearts, need ofgreening andregeneration.’ Coastal issues ofrisingsealevels, andseasidetowns in coastal towns inthe UK,we are aware of Liu. ‘Having worked onresearch projects in of storing itinvast vats inthe landscape,’ says mud, alleviating the environmental burden that could make useoflarge quantitiesofred partners to helpbringthe results to life. routes andare now seekingmanufacturing project, the collaborators are exploring both activating it, andcasting it. For the Re-Made ‘Ultimately, red mudwilllikely beused ‘We’d ideally like to develop something 93WPR20AUG139.pgs 25.06.2020 10:34 Architecture ∂
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BLACK YELLOW MAGENTA CYAN 93WPR20AUG195.pgs 23.06.2020 11:09 Design Portion plate by Jean-Baptiste Fastrez and Chipsboard
Fostering a healthy approach to portion sizes and nutritional intake, Jean-Baptiste Fastrez’s plate was created in collaboration with London-based brand Chipsboard, which has developed a non-petroleum-based bioplastic from the by-product of McCain’s chip production. By adding further by-products, such as walnut shell flour or reclaimed coffee grounds, specifications and appearance can be altered. Using Chipsboard’s amber- coloured curcumin composite, Fastrez’s plate features playful geometric engravings and partitions on the base to suggest appropriate portions for each food group, and these partitions are further defined by a series of ridges, a play on McCain’s crinkle cut chips. ‘It seemed important not to simply offer an eco-friendly object to consume more, but a Chipsboard’s bioplastic, new object that helps us consume less and made from potato better,’ says Fastrez. For such an everyday waste, can be altered in appearance with the object, this plate has the potential to make addition of by-products a long-lasting impact on our environment, such as walnut shell, pine chipping away at our need to be kinder, and curcumin (above), which was used to colour healthier and smarter with our planet. ∂ Jean-Baptiste Fastrez’s jeanbaptistefastrez.com; chipsboard.com portion plate (left)
Reversing the stereotype of food waste stimulant manufacture as a principle resource disposal as something smelly and dirty that (including waste material from hemp, tobacco Compost has to be hidden, High Society has chosen to and wine), so it chose to source its activated place the compost bin centre stage. With its charcoal from British vodka producer Black irregular bulbous form, the Italian studio’s Cow. After 300 years of cheesemaking, Black design wittingly imitates the ubiquitous Cow turned to whey (a by-product from its bin black bin bag, but this bin will honour its dairy farm) to produce vodka. By filtering by High Society and decomposing contents as it is made from a the vodka through coconut-shell charcoal, translucent material that allows for shapes it found a use for yet-another waste material. Black Cow and forms to be discerned within. The colour However, this will be the first time that Black will be achieved by adding activated charcoal Cow’s used charcoal is repurposed, proving to translucent cellulose acetate. High Society again that waste should never be a wasted has a history of using by-products of opportunity. ∂ high-society.it; blackcow.co.uk
High Society’s shapely compost bin (left) will be 3D-printed from translucent cellulose acetate coloured with activated charcoal waste (far left) from vodka
Photography/renders: Studio Fastrez, Chipsboard, Black Cow, High Society Black Cow, Chipsboard, Studio Fastrez, Photography/renders: producer Black Cow
WRITER: SOPHIA ACQUISTAPACE ∑ 065
BLACK YELLOW MAGENTA CYAN 93WPR20AUG115.pgs 25.06.2020 18:59 Wellness
The final form of the hand sanitiser, designed by Dutch studio Odd Matter, is yet to be decided, but it will largely be constructed using material made by Dust London, who recycle teabag waste to create their homeware range, and then covered in Kinfill’s biodegradable cleaning extracts
If 2020 has forced us to re-think cleanliness, 2021 will see us develop new technologies for achieving it. Pre-empting the needs of our hygiene-conscious future, biodegradable cleaning company Kinfill has teamed up with design studios Dust London and Odd Matter to create a new sanitation tool for Wallpaper* Re-Made. The idea was born when Els Woldhek and Georgi Manassiev, the duo behind Odd Matter, noticed unsightly hand-sanitising stations peppering their native Rotterdam. These objects were clearly becoming totems of a new global fixation, but their clunky, largely plastic forms were not easy on the eye. Hoping to create a more aesthetically pleasing alternative, Odd Matter, Dust London and Kinfill set about designing a new tool for instant sanitation. The sculptural object’s delicately textured surface will be covered in a nano-coating of Kinfill’s biodegradable cleaning extracts, though its final form is yet to be decided as the teams experiment with the possibilities of a rollerball-type structure or a block. Either way, it will be largely constructed using Dust’s unique material, which is made from tea waste. Visitors are invited to run their hands along the sculpture’s surface to quickly and effectively clean them. The gesture of touching this object is practical, but it is also symbolic. It transforms the commonplace hand-sanitising station, an object suffused with anxiety and fear, into a pleasurably tactile experience that welcomes physical interaction. ∂ kinfill.com; dustlondon.co; oddmatterstudio.com
BLACK YELLOW MAGENTA CYAN Odd Matter, Dust London and Kinfill’s tactile totemic tool gives instant sanitation and gratification WRITER: MARY CLEARY
Hand sanitiser
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93WPR20AUG106.pgs 24.06.2020 22:19 Design
German designer Stefan Diez’s response Solar harness to Re-Made’s themes was to look to the sky to explore a series of ‘proud solutions for contemporary use of the sun in an urban Stefan Diez’s exploration of contemporary context’. The industrial designer is better ways to utilise the sun’s energy in an urban known for his no-nonsense, sleek furniture for the likes of Thonet, Hay and E15, and context is packed with suspense for clever thinking when it comes to details WRITER: ROSA BERTOLI and functionality. One of his most successful pieces is the ‘D1’ chair, designed for German manufacturer Wagner. Since its launch in 2017, it has become a staple in offices worldwide. With its tubular steel frame perched on an aluminium joint, and a tilting and pivoting backrest, the chair responds to its user’s movements and offers a new level of comfort. Diez has ventured in a new direction for Re-Made, led by his solar inspiration. The amount of solar energy that hits the Earth is 5,000 times the energy we consume daily: with this information in mind, Diez researched low-tech ways that this energy is commonly used worldwide, from solar cooking in the desert to sun-drying tomatoes. In particular, an image of clothes drying between buildings on a street in southern Taking inspiration from an image of clothes Italy resonated with the designer. ‘I liked drying between buildings on an Italian that it best illustrates how people have street, opposite above, designer Stefan Diez drew sketches, above left, for a hose-like naturally made use of the sun,’ he says. structure containing water, that could be It inspired him to consider an intervention suspended outdoors and be warmed by in architectural structures, to utilise the sun’s the sun. Diez and his team went on to test prototypes in the courtyard of his Munich energy in a functional, practical manner. studio, above right and opposite below ‘I wanted to use a pneumatic principle to
BLACK YELLOW MAGENTA CYAN Photography/sketches: Diez Office ‘I wanted to useapneumaticprincipleto create sun-collecting structures that expand when the sun isshiningonthem’ his courtyard. His first tests feature a black started testing, prototyping directly from of their expanded size.’ these structures would collapse to afraction shade isneeded.Under cloudy conditions, when the sunisshining onthem, orincase create structures sun-collecting that expand architectural façades are usedasfunctional he was particularly interested inthe ways the structure,’ says For Diez. this concept, latex rubbertubes, which are woven into structures madefrom 3D-knitted fabric and idea while moving towards insectwing-like manufacturer to bringthe ideato life. include collaborating with aspecialist and testing. The project’s next steps will will expand after further experimenting design isasimple, intuitive which solution, to warm upthe water inside. The initial outdoor space, collecting the heatofthe sun hangingonaropehose suspendedacross the At hisMunich studio, heandhisteam ‘I’d like to explore the potential behindthe diezoffice.com we allusedto understand verywell’. led to almost avanishing ofsemanticsthat concludes ‘to Diez, make life convenient has language that forgotten: issometimes light andheat. It originates from apractical nostalgic inits reference to traditional usesof and the simplicity ofits roots isalmost expected andmore ambitious.’ opportunity to come upwith something less the invitation to Re-Made; itoffered an than creating nice objects. That’s how Isaw of adesignerinsociety, it’s much about more do people fitin this picture?’ heasks. have the feeling that it’s antiseptic:how so we gothrough modernarchitecture, we often disrupting architectural structures. ‘When buildings. He isintriguedby the ideaof within anurbancontext andexist between and hisproject isintended to similarly fit surfaces to regulate lightandtemperature, The project developed from asimple idea, He continues, atthe purpose ‘Looking 93WPR20AUG126.pgs 25.06.2020 11:45 ∑ ∂
069 or Wallpaper* Re-Made, British artist and designer Faye Toogood has been Fworking on a sculptural lamp that offers a calming form of light and colour therapy in the home. Tagged ‘Kaleidoscope’, the lamp has a timeless aesthetic, in keeping with Toogood’s long-standing goal of creating pieces that are used and valued for many years. Toogood has centred her practice on materials, so we connected her with London- based material innovator The Shellworks, which has extracted a biopolymer called chitosan from shellfish waste, in order to create a bioplastic. As the second most abundant biopolymer in the world, chitosan reflects the company’s aim ‘to tackle the plastic problem at scale’, says CEO and co-founder Insiya Jafferjee. Shellfish waste is not often upcycled, but it has enormous potential. ‘We can create both amorphous (flexible) and crystalline (rigid) forms, which is quite rare for bioplastics, which typically tend towards one form,’ Jafferjee says. It was The Shellworks’ transparent and heat-resistant sheet material that caught Toogood’s eye. ‘With its slight rigidity, it’s not unlike some of the fabrics and canvases we have used in the Toogood fashion collection,’ she says. ‘Our signature “Oilrigger” coat has sculptural details created with folds and seam lines that inspired [the lamp’s] direction.’ The design of the lamp also draws on the natural inconsistency in the bioplastic’s tonal colours, caused by trace minerals left behind from the extraction process. ‘It reminds us of 1960s fibreglass in beautiful golden nicotine colours,’ says Toogood, ‘but now eco-friendly.’ By layering sheets and shaping them into different conical and cylindrical forms, she hopes to create a kaleidoscopic effect. ‘We’re excited to play with the material to create soft volumes with ever-changing light patterns and shadows.’ Toogood has previously created lamp shades in rigid materials such as fibreglass, but she has also worked with materials that need support, like Japanese paper – so The Shellworks’ material, both flexible and self-supporting, presented itself as an intriguing new middle ground to explore. Some of the shapes and forms achieved so far fittingly imitate the way light is refracted underwater. Like an ever-changing kaleidoscope, The Shellworks’ material also morphs over time, due to frequent exposure to light, or reactions occurring between the sheets and the environments they inhabit. Says Jafferjee, ‘We hope to harness some of these changes and celebrate them; it’s quite a magical part of the material’s behaviour.’ ∂ fayetoogood.com; t-o-o-g-o-o-d.com; theshellworks.com
Photographed at Toogood’s studio, sketches of the lamp and experiments with The Shellworks’ bioplastic sheeting, which will form the shade
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Calming lamp The natural tones of a bioplastic derived from shellfish waste inspire a kaleidoscopic lamp by Faye Toogood and The Shellworks WRITER: SOPHIA ACQUISTAPACE
93WPR20AUG108.pgs 25.06.2020 11:50 Shelving system Biocement, courtesy of Sharjah sand and material innovator BioMason, is a building block for designer Asif Khan’s locally inspired display case WRITER: ELLIE STATHAKI
Can a fairly new material be used in the same way We decided to create a prototype section of external as the conventional ones we have been building with wall as our Re-Made project to test this possibility.’ for centuries? Would it be a viable option to replace, Creating the structure with Sharjah sand is not as say, concrete, with an environmentally responsible straightforward as it may seem, even with BioMason’s alternative and still get the same results in terms of strong, existing ties with this part of the world. ‘We architectural performance? And how can a structure first used the sands and indigenous aggregates in be intrinsically linked to its locale? It is questions Sharjah in 2009 when we created the technology,’ says like these that London-based designer Asif Khan Krieg Dosier. ‘We will seek to bring this technology set off to explore with his Wallpaper* Re-Made project, full circle by using Sharjah aggregates to produce our ‘Coral Reef’, created in partnership with American BioLith tile product [the company’s main product for cement industry innovator BioMason. commercial and residential applications] as a building The North Carolina-based company, co-founded by façade material.’ The collaborators agree that a lot of CEO Ginger Krieg Dosier and her partner Michael research and strength testing will be needed to ensure Dosier, is revolutionary in its field. It ‘grows’ sustainable the end product’s workability. cement by employing microorganisms, just as coral For Re-Made, the team is hoping to reimagine an reefs are formed in marine environments. ‘Aggregate element from the museum’s structure as a shelving unit is mixed with our microorganisms, pressed into built from ingots of biocement. It’s a response that shape and fed an aqueous solution until hardened felt appropriate, says Khan. ‘Fish use coral reefs as to specification,’ explains Krieg Dosier. ‘BioMason’s places to graze and explore; I think a shelving system process enables materials to be formed in ambient can have a similar feeling for people.’ The piece may temperatures by replacing the curing process with the even become part of the museum, when it opens. But formation of biologically controlled structural cement.’ the point of this project goes beyond its practical The company is also researching marine biocement applications. There’s a deep, conceptual and symbolic with the ability to self-repair. value to the experiment. The idea for ‘Coral Reef’ was born of one of Khan’s ‘BioMason was founded by two architects who ongoing projects in the UAE – the new Museum of worked in the UAE from 2007 to 2014,’ explains Manuscripts in Sharjah. The structure is currently Krieg Dosier. ‘The Re-Made project continues that under construction (with a view to completion in 2021), narrative, expressing regionalism and reverence and its surface is made out of many small stone to other building materials used in the UAE. This elements, referencing traditional local coral-stone project, design and collaboration are a proud and buildings and the geometry of Arish, the region’s palm- compassionate statement to working with materials leaf architecture. ‘When we started working with found on site and our responsibility to place and BioMason, I wondered if we could recreate an element environment.’ Khan also feels ‘Coral Reef’ is an of our building from its biocement, and I wanted that exciting challenge: ‘I like that this project gave me the product to use Sharjah’s sand as its aggregate material – opportunity of remaking something that was precious a resource that is plentiful,’ says Khan. ‘It’s an to us [the museum’s original design]. Perhaps we should experiment, but the idea of making a structure all challenge our design assumptions more often.’ ∂ from what we find on site is very simple and poetic. asif-khan.com; biomason.com
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BLACK YELLOW MAGENTA CYAN Images: © Asif Khan 4. Khan’s visionfor the 1. Arender ofAsifKhan’s with BioMason 2. Amodelfor themuseum’s (palm-leaf) architecture and 3. Khan’s sketch references to buildascreen-like shelving tiles. Inturn,thesewillbeused the useofSharjahsand,which BioMason willcombinewith Museum ofManuscipts, environmentally responsible inspired by localArish in Sharjah.Itfeatures a objects, andbuilt-inseating open areas for plantsand provided point thestarting for hisRe-Made collaboration microorganisms toproduce façade. Itincorporates unit for Wallpaper* Re-Made lattice structure coral stonewalls –which latticed stonefaçade – currently under construction cues from themuseum’s shelving unit, takingits 4 1 3 2 93WPR20AUG121.pgs 24.06.2020 20:44 Architecture BLACK 074 Knife sharpener Designers Jenkins&UhngerandVictorinox propose amobilerepair service WRITER: SOPHIA ACQUISTAPACE Opposite, theirplansfor a with agrindingwheel,andnod to theversatility oftheblade Below, from Jenkins&Uhnger’s into mobile sharpeningstation,in knife sharpeners moodboard, visual research combine acustombike frame collaboration withVictorinox, specialist’s Swiss Army knife YELLOW ∑ arrotini , travelling Italian MAGENTA CYAN example that resonated was the repair services through history, andone inspiration. Jenkins &Uhnger researched imperative to lookback to the past for a glimpseinto ourfuture lives, itwas travelling knife sharpener. Such workers care for aproduct duringits life,’ says Jenkins. with the understanding that youneedto also passionate buildingthings about to last, but in 2015 basedonshared principles. ‘We are engineering product designer, cametogether cabinetmaker, andThomas Jenkins, asan service people take prideinusing. important places onthe highstreet anda they oughtto beoneofthe mostvibrant, shops are often tired andrundown, when Jenkins &Uhnger, who noted that repair this dialoguewith Norway-based designers rather than turningto repair? We kicked off How often dowe just discard andbuy new, While Wallpaper Sverre Uhnger, who trained asa * Re-Made takes arrotino , the expert Victorinox, which hasbeenperfecting the arrotino, wecalledonSwiss also knife something more desirable andrewarding. transforms today’s notionsofrepair into people to bringnew life to oldobjects, and creating something that similarly incentivises mind, we setJenkins &Uhnger the task of died outinthe late 20th century. With this in and then motor vehicles. Butthe tradition ever more mobilewith the advent ofbicycles just service. afunctional repair was once seenasanartisanalcraft, not Theysharpened. serve asareminder that of citizenswho mightneedknives orscissors years, ringingtheir bellsto getthe attention roamed the Italian provinces for hundreds of that the pedalsrotate the wheel. ‘It’s one not inmotion,ispropped uponastand so wheel setonacustom bike frame that, when transportable design,’ says Müller. designers willpulltogether acompact and sharpeners. Iamcuriousto So seehow the have rather big, heavy grindingwheels and potential isimportant. ‘In ourfactory we latter, reasoning that direct-to-customer options, Jenkins &Uhnger decidedonthe angle onthe grindstone,’ heexplains. grinder, who places the blade atthe right cooling, andthe expertise ofthe knife temperature that isgenerated with the fineness of the grinding wheel, the right perfect cutby hand.It’s aninterplay of the Victorinox kitchen knives are given the an apprentice more than 45years ago. ‘All executive board, who started atVictorinox as production officer andmemberof the our arrotino project Müller, isErwin chief chief marketing officer of the company. Elsener, the fourth-generation and co-owner consider ourproducts for life,’ says Veronika in everything we do. Not for nothing dowe owned company, we strive for sustainability athrowawaysupporting culture. afamily- As repair service for allourproducts rather than comes with alifetime guarantee. ‘We offer a the Swiss canton ofSchwyz. Each knife each year from its headquarters inIbach, in million householdandprofessional knives Europe, Victorinox produces more than 20 Currently the largest knife manufacturer in for 136the years. artofblade-sharpening To work onthis moderninterpretation of Starting offon foot, the arrotino became The proposed designfeatures agrinding Having explored bothstatic andmobile Overseeing the technical elements of
Images: Jenkins & Uhnger Design
‘It’s exciting to work with such a specific function in mind. It really appeals to our inner nerds!’
thing to solve the technical challenge, ‘It’s been interesting to figure out how to another to make this look desirable, too,’ says relaunch a service that is in decline, by Jenkins. The project is now entering the working out how it needs to be adapted to development phase, with technical details modern lifestyles,’ says Uhnger. ‘We’d like to being discussed, such as the diameter of the see the sharpener used numerous ways, grinding wheel and the optimal rotation catering to the public at markets, as well as speed. One challenge is the positioning of the servicing restaurant kitchens. We also think handlebars and the grinding wheel so they it can be an educational tool, increasing do not get in the way of each other. awareness around making objects that last.’ ‘It’s exciting to work with such a specific Of equal importance is the reintroduction function in mind. It really appeals to our of the human element to services that are inner nerds!’ says Jenkins. Inspired by the now often automated and anonymised. versatility of Victorinox’s original Swiss Army ‘We are not making a product, but a knife, the designers are exploring additional service,’ says Jenkins. ‘We hope that this will features, including a dynamo, which pedal- remind people that any old knife can be powers an LED light, as well as a built-in sharpened, be it one you got for Christmas tachometer that measures the rotation speed last year, or your grandfather’s classic of the grinding wheel. The next step would penknife. As we see it, more services like be to bring a bicycle partner on board to this can evolve in the years to come.’ ∂ make the custom frame. jenkinsuhnger.com; victorinox.com
93WPR20AUG112.pgs 25.06.2020 16:10 Textiles and dyes SaltyCo’s freshwater-free fabrics and Kaiku’s alternative plant-based pigments combine in a colourful show of sustainability
As one of the heaviest strains on the Earth’s natural Some of the natural materials, can be used to dye things, but whether that turns out resources, the textile manufacturing industry is ripe for pigments and dye swatches as an attractive, vibrant and lightfast dye is variable. from Kaiku’s experiments a revolution. Leading the charge are two companies There is a reason we cultivated plants such as indigo 1. Red cabbage-dyed that have sprung from prestigious London universities. SaltyCo fibres beside and woad over the centuries – they contain a large Kaiku, a material innovation studio established by a dish of egg shell amount of the compounds needed for colour. Yet those Imperial College graduate Nicole Stjernswärd, provides 2. Red cabbage dye, used to compounds do exist in other everyday plants, albeit in a viable alternative to synthetic dyes through the colour the adjacent silk square smaller quantities. This is how we can get similar pinks extraction of pigments from agricultural food waste. 3. Birch pigment and, in the from avocado as you would normally get from madder SaltyCo is a start-up formed by Finlay Duncan, dish below, birch bark root, another traditional dye plant. They are different Julian Ellis-Brown, Antonia Jara-Contreras and 4. Onion-dyed silk species, but the building blocks are present in both.’ Neloufar Taheri – postgraduate students in innovation 5. A dish of avocado pigment SaltyCo is equally committed to re-examining between two squares of design engineering from Imperial and the Royal avocado-dyed silk overlooked resources. Its three-step process starts with College of Art – that is the first company to produce 6. Non-woven, undyed SaltyCo saline agriculture, a nascent farming method that textiles without using freshwater. fabric, bottom, and fibres, in irrigates salt-tolerant plants with seawater. Not only Cotton growing and processing is a thirsty business; the dish above does the robust nature of these plants eliminate the producing a single cotton sock sucks up the equivalent 7. Pine pigment and need for pesticides, the areas where they grow can also of three years’ drinking water for a single person, pine needles sequester CO2 up to 50 times more efficiently than a claims SaltyCo. ‘We are passionate about tackling water similar area in the rainforest. The fibres of these plants scarcity,’ says Taheri. ‘In order to remove freshwater are harvested and extracted using proprietary methods from textile production, we turned to seawater, which specifically optimised for these varieties. They are then represents 97 per cent of the water on the planet. made into textiles using methods that meet industry Working alongside nature, we grow salt-tolerant plants standards to ensure seamless integration. to produce natural saltwater textiles.’ While each start-up is re-thinking deeply rooted Similarly, Kaiku’s disruption of the synthetic dye textile manufacturing processes in its respective field, and pigment sector came from questioning why these SaltyCo and Kaiku are now jointly exploring how to chemicals remain ubiquitous, despite having adverse put this into practical use for Wallpaper* Re-Made. environmental and social effects. They have been experimenting with applying Kaiku’s ‘In fashion, there are huge concerns about chemical dyes to SaltyCo’s non-woven fibres, a 100 per cent use, but alternatives are limited in scope,’ says plant-based, biodegradable material akin to wool felt. Stjernswärd, who researched how the Old Masters ‘The collaboration represents how we can reinvent created pigments and observed how paint was used in the way we interact with nature,’ says Ellis-Brown. contemporary art and design studios, before coming ‘Both companies look to utilise the disregarded and across a textile designer who used food scraps as dye. devalued natural world to build symbiotic connections ‘I realised that although the textile and paint industries with our environment. SaltyCo uses abundant have been working independently in recent history, seawater, undervalued land and hardy shrubs just as they both use plants to generate vibrant colorants.’ Kaiku looks to food waste-streams, invasive plant Kaiku uses waste components of agricultural species and wild flowers. This enables us to align our products: shells, skins and seeds from mid- to large- visions of a more sustainable, more natural world.’ scale food producers and farmers, to extract the colours Stjernswärd adds, ‘We share the goal of challenging it needs. ‘The process involves different types of the current norm of extractive exploitation of nature. machines and boiling plant waste to extract its colour We both want to promote regenerative agriculture compounds,’ Stjernswärd says. ‘We then convert in our supply chain, and challenge traditional these compounds into shelf-stable powders that can monoculture crops by using novel species. Now that be used for paints, dyes and potentially cosmetics. we’ve proved we can use our materials together, we’re The remaining biomass can be used for biofuels. excited to apply this to the real world, such as with ‘Because we don’t rely on traditional dye plants, a furniture piece or fashion garment. I already see this it’s a new frontier in discovering what works. I recently material shift happening in the design community; we extracted a bright pink colour from aloe vera, which now need industry investment to achieve it at scale.’ ∂ few could have predicted,’ she says. ‘Almost all plants saltyco.uk; kaiku.bio
076 ∑ WRITER: PEI-RU KEH PHOTOGRAPHY: NICOLE STJERNSWÄRD/KAIKU
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BLACK YELLOW MAGENTA CYAN Share a picture of your Wallpaper* collection using #subscribersince and tagging @wallpapermag Subscribe today at wallpaper.com/sub20 and receive subscriber-only, limited-edition, artist-designed covers, and delivery to your door. Twelve issues for £100. Offer closes 31 October 2020. For full terms and conditions, visit magazinesdirect.com/terms.
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BLACK YELLOW MAGENTA CYAN 93WPR20AUG194.pgs 23.06.2020 11:04 Re-
We’ve gathered some of the most astute creative minds, a broad stretch but experts in their fields. All are convinced that positive change takes risk, research, experiment, trial, more than occasional error and a good measure of righteous indignation
082 Formafantasma Can we make fuller use of ephemeral things? 088 Afterparti Who holds the power to shape our cities? 094 Paul Dillinger Is fashion fixable? 098 Map Project Office Can you create a perfect circle? 102 Fernando Laposse What’s the problem with crushed avocado? 106 Christien Meindertsma Can lino live forever? 110 Nate Petre Is micro-making the future?
For more to re-think about, see our Re-Made reading list on page 114 think
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BLACK YELLOW MAGENTA CYAN 93WPR20AUG130.pgs 25.06.2020 20:29 Can we make fuller use of ephemeral things?
Formafantasma
The Amsterdam-based studio has set a new course exploring the environmental impact of temporary installation and exhibition design Writer Rosa Bertoli
In just over a decade, Andrea Trimarchi spent the past few months in discussion their self-initiated, ethics-driven projects, and Simone Farresin, of Amsterdam-based with Trimarchi and Farresin, conversations and the designers are increasingly trying to studio Formafantasma, have developed a that have allowed us to delve deep into the close the gap between the two. powerful design language based on social, pair’s wider design approach. They first considered the environmental political and ethical themes, combined with The duo graduated in 2009 from Design impact of temporary installations during diverse historical references and topped off Academy Eindhoven (where they now also a collaboration with Italian fashion brand with a sublime multidisciplinary aesthetic. teach), presenting a project that looked at the Sportmax. The studio designed the backdrops Every project from the Italian pair has made influence of migration on Sicilian ceramics. for the brand’s S/S16 and A/W16 shows, us reconsider how we consume, produce, They were spotted by London gallerist Libby creating sets inspired by deconstructed design and relate to objects and Sellers, who later presented the concept in architecture and Giotto’s medieval paintings, manufacturing. It’s a career trajectory that her gallery and worked with the designers on and using materials such as terracotta pipes, makes them a natural candidate for Re-Made. further projects over the years. ‘Andrea and coloured PVC film and foam towers. ‘When This year, the studio’s interest shifted Simone’s acute sensitivity towards design’s you work on an installation that lasts towards exhibition design and temporary political and ecological responsibilities 20 minutes, you need to think of alternative installations, a new direction that they has been central to their work,’ says Sellers. solutions,’ says Farresin. He adds that first explored with a set creation for the ‘Like many great critical design thinkers, their approach was to use as little material Rijksmuseum’s exhibition ‘Caravaggio- their investigative gaze has more recently as possible, but also to devise alternative Bernini. Baroque in Rome’, and later through turned inwards on the design industry itself solutions so as to create less waste. their own solo show, ‘Cambio’, at London’s in the hope that their forensic findings will For each temporary installation, the Serpentine Galleries. They have also been be systemically applied to all areas of the duo develops a long-term view of the commissioned to work on the design of practice – from research and development project’s timeframe, asking themselves where exhibitions coming up next year at Rome’s through to production and distribution. the materials come from, how the design can Palazzo delle Esposizioni, exploring the That they have managed to balance such involve the local community, and what will relationship between science and art, and value-laden advocacy with extreme elegance, happen to the material once the project is at Utrecht’s Centraal Museum, focusing and occasional wit, is truly admirable.’ dismantled. Location has also been a focus on the idea of the garden. Since their debut, they have worked for the designers, who approach it both So it felt appropriate to enlist the studio on gallery pieces, objects and installations, from a historical and a practical point of to also create the set in which Wallpaper* collaborating with the likes of Fendi, Flos, view – for example, looking at what can be Re-Made will be presented next year in Milan. Dzek (see W*242) and Alcantara, among recycled from within the archives. ‘The use Though it’s still rather early to make concrete many others. There is a fine balance of space to exhibit has always been a crucial
plans for the design of the space, we have between commercial commissions and element of our work,’ says Trimarchi. » All collages: of Formafantasma courtesy
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BLACK YELLOW MAGENTA CYAN Re-Think
Formafantasma’s set creation for the Rijksmuseum’s 2020 exhibition ‘Caravaggio-Bernini. Baroque in Rome’ drew on a contemporary, modular visual language, using Kvadrat fabric, plinths and display supports, leaving ample space for the Baroque artworks to shine, as well as allowing for the possibility of repurposing set parts
93WPR20AUG149.pgs 25.06.2020 21:46 In 2012, Fendi invited Formafantasma to The work of architect Pier Luigi Nervi got develop Craftica, a new body of work exploring the Formafantasma treatment at Rome’s leathercraft. The studio combined Fendi MAXXI Museum in 2019, a collaboration leather with fish and animal leathers from with synthetic material company Alcantara. food industry waste, as well as vegetable The designers created a series of structures leathers from tree bark and cork. The designs built from work-site scaffolding, choosing of each final piece bore a distinct trace of to present his work in an unfinished state, the animal, fish or tree it once was thus inviting viewers’ interpretation
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BLACK YELLOW MAGENTA CYAN Re-Think
Formafantasma’s preparatory collage of the A sketch of the set for Sportmax’s S/S16 set design for Sportmax’s A/W catwalk show catwalk show at Milan’s Palazzo delle Poste, for Milan fashion week in 2016, which was the first collaboration between Formafantasma based on architectural elements in medieval and the fashion brand. Taking cues from paintings by Italian artist Giotto. The set deconstructed architecture and the work was dominated by four foam towers, each of Russian Cubo-Futurist artist Aleksandra of which was borrowed from a supplier Ekster, the studio interspersed the set with and returned at the end of the show terracotta pipes and coloured PVC strips
93WPR20AUG142.pgs 25.06.2020 21:47 Re-Think
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*Architecture � Design � Art � Travel � Entertaining � Beauty & Grooming � Transport � Technology � Fashion � Watches & Jewellery August 2020
Limited edition cover
This magazine is storing approximately 665.19g of CO2 665.19g approximately is storing magazine This by Formafantasma
Above, Formafantasma’s ‘That Formafantasma have managed to limited-edition cover offers a microscopic view of paper fibres from eucalyptus, balance such value-laden advocacy with a fast-growing plant often using for paper production, extreme elegance, and wit, is admirable’ and includes an estimate of the quantity of CO2 each magazine contains. Keeping the magazine for longer or for reuse will postpone the release of CO2 into the atmosphere when it is eventually incinerated. Limited-edition covers are available to subscribers, see Wallpaper.com
Their work for the Rijksmuseum is a fitting strong from a material point of view, so musical instruments, and the pieces will demonstration of the pair’s evolving that they last,’ says Farresin. ‘Bo Bardi’s set be available to purchase via Rome gallery approach. Trimarchi and Farresin created a was so sophisticated that it lasted well beyond Giustini Stagetti, ready for a second life. contemporary, modular visual language with its intended exhibition.’ Although the easels ‘The invitation from Serpentine Galleries fabric from Danish brand Kvadrat, which were discontinued in the mid-1990s, they to Formafantasma has been an opportunity they used to define plinths and other display were recently reintroduced by MASP’s for us to follow even more closely their supports. The modules were created ‘to artistic director Adriano Pedrosa as display interdisciplinary approach to design,’ says emphasise the sculptural qualities of the elements and feel as contemporary as they Giustini Stagetti director Michela Tornielli works of Bernini and the idiosyncratic lights had been half a century ago. (The displays di Crestvolant. ‘What makes the theoretical on Caravaggio’s paintings’, with a display were also an inspiration for British aspect of their research so rich is the overlap created to highlight the two Baroque artists’ artist Isaac Julien, who recreated them and the cross-pollination between different visual innovations. ‘Formafantasma chose for his exploration of Bo Bardi’s work, areas of study that are usually distant from an elegant, understated style that left ample A Marvellous Entanglement, see W*243). the design world. Through their exhibition space for the Baroque language of the Creating display supports that last was design, Formafantasma demonstrate that artworks to fully manifest itself,’ says Frits the studio’s focus for ‘Cambio’: Trimarchi they can allow contents to model their space, Scholten, the museum’s senior curator of and Farresin designed the backdrop to their giving shape to theory both through a sculpture. The Kvadrat material was cut research and thought process as a series of particular point of view and the use of a while keeping its height intact, so that it furniture pieces. Tables, stools, bookshelves method: design follows material.’ would be easy to use later in other projects: and desks were made from the wood of a The designers are now also experimenting Trimarchi and Farresin are exploring possible single pine tree sourced from Italy’s Val di with more temporary and immaterial options, but they mention this second life Fiemme, an area badly hit by a storm in solutions – for example, light, colour, smell, as something they now try to consider from 2018 and one of the focal points of their sound and atmospheric conditions – as the start of a temporary installation. analysis. It reflects their belief that design different ways to define the space. Although The pair draw from their vast research should not be motivated by aesthetics alone. each of their projects has resulted in a very into display designs, looking at long-lasting ‘Design plays an important role in relation clear formal language, they are still surprised display solutions by the likes of Carlo Scarpa, to the production, extraction and processing by the physical forms of their work. ‘The Achille Castiglioni and Franco Albini. of materials,’ explains Farresin. ‘So whenever result is always different than what we Among their inspirations is a radical 1968 we can, we try to investigate this complex imagine,’ says Trimarchi. ‘And this happens design by architect Lina Bo Bardi for the tension between the exploitation because we don’t work formally, but through São Paulo Museum of Art (MASP), featuring of the environment and design.’ The wood’s a process-based approach: processes are the glass easels supported by concrete bases. texture was enriched using a varnish guiding forces of our work.’ ∂ ‘We are keen on displays that are very normally employed in the manufacturing of formafantasma.com
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BLACK YELLOW MAGENTA CYAN Photography: ©Hans Hemmert/VG Bild-Kunst/DACS, ©Katharina Grosse/VG Bild-Kunst, Jean Prouvé, courtesy of Galerie Patrick Seguin/Vitra, ©Ettore Sottsass/ADAGP/DACS, ©Tetsuo Kondo Architects Jean Prouvé’s ‘Demountable’ Emergency Blurry VeniceBlurry Formafantasma’s influences Hans Hemmert’s sculpture Ettore Sottsass’ Kondo Architects installation by Transsolar andTetsuo clockwise from topright, and inspirations include, chair; PlastiqueFantastique’s series; and ; KatharinaGrosse’s Cloudscapes Mumbling Mud installation; Metafore
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Who holds the power to shape our cities?
Afterparti
Cities are unequal, and power struggles often play out in the arena of the built environment, say the London-based collective of young architecture writers. We asked them to take over the following pages to reflect on how we can make contemporary urban spaces more inclusive Writers Afterparti
From Failure to Power We love that much of our audience is just like relationship of mutual exchange. Just as Afterparti is a collective of nine London- us: diverse, passionate and energetic. But our architecture influences and is reflected in based writers founded in March 2019 to zines and events are for everyone. We aspire media, it is influenced by it in turn. As champion radical, underrepresented voices for them to be as relevant to architects and writers, producers, architects, educators within the culture and criticism of designers as they are to wider society, because and designers, we recognise this. We are architecture. We explore big ideas about we all have a stake in the built environment. here to challenge the normative discourse contemporary urban space through the lenses We have a desire to take the discussion around the built environment. We aim of identity and race. outside of aesthetics. Architecture is political, to unearth buried and neglected stories Afterparti curates live events on themes architecture is social, architecture affects within the urban fabric that we believe like failure and power. These events are then lives. So we deal with these issues in the zine. have been purposely marginalised and followed by a zine, also called Afterparti, Architectural criticism may appear niche but excluded from the architectural discourse. which acts as a platform to further develop in reality, it isn’t. Everyone has an opinion on In doing so, we hope to give power and the conversation and also as a space to the spaces and structures around them; it is voice to those in an unequal city, like document our thoughts and experiences. The the language and the platforms in which London, who feel ignored and unheard. on-stage discussions at our events become criticism appears that are niche and selective. We feel that we have a responsibility as catalysts for the content of the zine and point That is what we are challenging by widening writers, as there is no doubt about the impact us towards potential contributors whom we the conversation to include others. Taking of discourse on architectural practice. invite to expand upon them in a personal, the conversation outside of closed circles and Therefore, when we write, we do so with the playful or even provocative manner. exploring issues that resonate with a wider intention of not only transforming the way Our zine is only available in print, as, audience opens up urgent topics and valuable people interact with or see the city, but also since we are all swimming in PDFs, we think perspectives that aren’t typically heard. the practice of designing the city itself. We’re it’s important to switch off from the screen Whenever we write, we aim to take more interested in cities than buildings, and and have something that you can hold. control of our narrative, to become agents in their inhabitants than designers. When Something that takes up physical space on of change. The relationship between talking about architecture, we always want to your shelf. We hope that through our live architecture and media doesn’t flow in a take the discussion beyond beauty. And we events and our zine launch parties, we can single trajectory, it isn’t simply a relationship want to invite as many people as possible to
build a closer relationship with our audience. of one influencing the other; it is a engage in that conversation with us. » Cuypers-Stanienda Fiona Photography:
BLACK YELLOW MAGENTA CYAN From left to right, Afterparti members Nile Bridgeman, Thomas Aquilina, Marwa El Mubark, Shukri Sultan, Tara Okeke, Aoi Phillips, Siufan Adey, Josh Fenton and Samson Famusan, photographed in front of London’s Barbican Centre in February
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‘A lot of times we talk about wanting to control the terms by which we’re participating and engaging in the city. That’s one of the real challenges for vulnerable movements, to find the language to articulate the power which we actually do have, as opposed to just using random acts or just violence’
— Julia King, designer and researcher
Positive Disruption audience who may not be familiar with the Afterparti was formed out of the first cohort language of plans, sections and elevations. of New Architecture Writers (NAW), a With this in mind, the open call fulfilled programme for black and minority ethnic its ambition. Nine writers were shortlisted. emerging writers designed to disrupt the The programme unfolded over the course of monoculture of architectural discourse. a year, covering a mix of writing and editing Architecture and architectural media can workshops, building tours, and even an be perceived as inaccessible fields. The city introduction to publishing. Industry and its narrative have long been represented connections – often the preserve of the by a range of voices that do not reflect the privileged – were recognised as integral, and spectrum of its day-to-day users, much less its consistently made available through regular inhabitants. This is the context in which mentoring on assignments. This facilitated an NAW was conceived in 2017: an open call environment where discussions on identity heralding a younger, socially conscious range and spatial inequality could transpire, of voices. More importantly, a range of voices culminating in our inaugural event that represents the city today. ‘The Time for Failure is Now’, followed by Part of NAW’s success has been its our inaugural zine, Issue #00. selection of writing as a tool for critiquing The live event is key to our belief that the built environment. While it may not architectural criticism is a conversation, not seem like the most relevant mode of a monologue. Our events recognise the need expression in a visually dominant profession, to provide a platform for underrepresented it is important to recognise that the vast voices. We see this as an important part of majority of architectural criticism exists in tackling monoculture. By definition, culture written form through a plethora of is an intersection of co-existing identities architecture magazines and journals. The that together form a narrative. By providing critic plays an important role in a platform for these identities, we can begin contextualising what is being proposed for to shape relationships and dismantle barriers our city, and writing is a crucial tool for to create an inclusive environment. The first deconstructing and articulating this. It is also step is opening up dialogue and providing an
an accessible tool, able to reach a wider alternative perspective. Afterparti Photography:
BLACK YELLOW MAGENTA CYAN ‘The voice is powerful. But it’s either here and never remembered outside of this venue, or if it’s recorded as a podcast, it’s only in the front of people’s minds for the first couple of seconds of the day, then it disappears. So physical print is important, because it allows that to stay at the forefront of people’s minds at all times’
— André Anderson, designer and educator
Zine Making in a Digital Age had become the overwhelming sentiment In an age when the digital is valued over that simmered under the surface of the analogue, and the transitory over the architectural discourse. From the housing permanent, print becomes even more crisis to the punitive regeneration projects pertinent. And within a discourse littered carried out by the council of the London with safe opinions, self-publishing borough of Southwark, failure is what came becomes almost crucial for the preservation to define the moment. It was also that said of one’s own voice. To write and publish failure that we as a society feared the most. our own content gives us the power to We addressed this feeling of failure in a tackle uncomfortable truths; to open up number of ways. Each contribution in the conversations about important but zine responded to a quote from the previous insufficiently discussed topics; and to reach event, building upon them, challenging them out to a mix of underrepresented voices, or subverting them. We explored the theme exciting upstarts and established figures alike. through essays, interviews and archival Our prototype zine, Issue #00, became an images, as well as more experimental formats, experiment in style, voice and collaboration, such as a playlist called ‘Sound Advice’, by catalysed by our live debate in June 2018, Joseph Henry of the Greater London ‘The Time for Failure is Now’. It was Authority and Pooja Agrawal, co-founder of published in March 2019, two years after the social enterprise Public Practice. This has Grenfell tragedy and a year after the since grown into a platform exploring spatial Published last March, Afterparti’s prototype zine, Issue #00, championed the idea that Windrush scandal, which we felt to be a inequality through mixing social makers of urban spaces need to ‘fail better’ fitting time to discuss failure. For us, failure commentary and music. »
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‘Our identity provides us with that sense of agency or maybe even urgency in creating a different world. How do these perspectives connect to people who might identify in different ways, or connect to people who might be racialised, or categorised in different ways? How do we see the ways in which our ideas, our histories, our experiences, and our struggles are very much connected to those different identities?’
— Adam Elliott-Cooper, sociologist
For the Love of Power panel consisting of Julia King, a designer Above, Afterparti’s event at London’s Identity and personal perspectives are and researcher at the London School Barbican Centre this March featured panellists (from left) Adam Elliott-Cooper, central to our work and to framing our of Economics, Adam Elliott-Cooper, Julia King and André Anderson, responding conversations about cities. Our platforms board member of anti-racist organisation to the question ‘Who and what holds the become places we share with others to The Monitoring Group, and André Anderson, power to shape our buildings and cities?’ speak candidly about the built environment headmaster of Freedom & Balance, a Opposite, Afterparti commissioned Nigerian illustrator Ojima Abalaka to in a holistic manner, transcending a creative school ‘for the artist in everyone’. create this artwork to bring together discourse more typically dominated by Over the course of two hours we spoke three quotes from the event aesthetics alone. Cities are unequal, about feelings of despondency in the face of and power struggles more often than not power, the lasting impacts of an education play out in – and are intrinsically connected system that paints false narratives, the power to – the arena of the built environment. in taking ownership of your narrative, spatial At our most recent event, as part of the and environmental injustices, the lack of Architecture Foundation’s ‘Architecture choice or visibility for marginalised on Stage’ programme, we invited a panel communities, the portrayal of the working that didn’t consist of a single architect, in classes, police brutality, reclaiming power, the hope that this would engender a fuller black love, and the active role of citizens and discussion around cities. At the beginning cities in each of these. of 2020 – before the lockdown triggered It has taken the murder of George Floyd by Covid-19 and before the worldwide to bring these conversations to the fore, but Black Lives Matter protests – we took to a we’ve always been having them. So were our sold-out stage at London’s Barbican Centre. parents and grandparents. Now, more than at We posed the question: ‘Who and what holds any other time, we are fighting to be seen and the power to shape our buildings and cities?’ to be heard. We are fighting for an equal stake It became an evening of poems, in our cities and societies. We are not recitations, debate, discussion and calls to powerless; we each have a part to play in
action, accompanied by a distinguished the city. ∂ afterparti.co.uk, @afterpartizine Ojima Abalaka Artwork: Photography. Webb Brydn Photography:
BLACK YELLOW MAGENTA CYAN My call to action might be: begin to decolonise our curriculums, think about the language that we use, and don’t accept bullshit forms of bullshit participation.
— Julia King
These movements aren’t simply about a mother grieving for their child who has been lost. They’re not simply about any other family member, arguing that they want to know the truth about what happened to their loved one. I feel that power is more They’re arguing against a system felt than seen. of injustice, a system of violence, which disproportionately affects — André Anderson low-income and black and other communities of colour within this country. They’re arguing against the system of injustice and violence, which is fundamentally the antithesis of the kind of love that they want to see throughout the world.
— Adam Elliott-Cooper
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to Washington University as a visiting assistant professor at its school of design and visual arts, but soon after took up a position at the Levi’s-owned casualwear brand Is fashion Dockers. Dillinger was committed to developing more sustainable manufacturing strategies and better treatment of workers in the apparel industry, and at Dockers he set up the Wellthread programme, producing small collections to explore sustainability solutions. fixable? In 2014, he moved to the mother brand (one of the biggest apparel manufacturers in the world, with 2019 revenues at $5.8bn, and hundreds of factories in more than 30 countries), taking the Wellthread programme with him. He now heads the firm’s Eureka Innovation Lab, based in San Francisco and committed to developing product that does Paul Dillinger better in terms of environmental and social impact at every point along the supply chain. Dillinger calls it a ‘proof of concept lab’, Levi’s VP of global product innovation is testing the viability of new ideas on a small scale, before they get bigger or prove to be out to correct an industry behaving badly wrong turns, in which case they can be refined or nixed with little harm done. Writer Nick Compton Considering his position, Dillinger does not pull punches. He is a rare thing, a strident advocate working to change things from the inside, a senior figure within a fashion industry giant willing to air its dirty laundry Paul Dillinger is so fast-talking, fiercely materials and fibres – can wither and die. in public while pushing to introduce real smart and in command of his subject that ‘You have to have new ethics every season, change on the ground. And the lacerating it’s hard to keep up. Shocking stats and reinvent your narrative around responsible swipes at his own employer, and the openness damning evidence fly by. You can just about production every season. And that about the battles he has within that company, hold on to his key arguments though. innovation – that little fibre that could – make the message all the more powerful. But Here’s one. ‘The demand for recycled only got a year to actually prove it was viable he is also quick to praise Levi’s openness to polyester has exceeded the supply of recycled because a year on, it’s old sustainability news his agitation. ‘There is more willingness to sit bottles, and brand new bottles are being and the sustainability marketing strategy and learn here than any place I’ve ever melted down to make polyester fibres,’ he needs a new sustainability. But the worked, and a real diligence around the says. ‘The sustainability industry, when it gets expectation that anything can come out of claims we make and the things we choose to going, with fashion marketing behind it and the gate and achieve consumer experience talk about.’ a willingness to never let the truth get in the parity, consumer price point parity and Cotton is what Dillinger talks most about. way of a good story, will come up with some industrial viability parity in the first year is He knows a lot of bad things about cotton of the worst ideas imaginable.’ His point is far too high a bar.’ and cotton production, and particularly the that demand for the more sustainable It’s part of Dillinger’s job to trace useful staggering amounts of fresh water involved. materials and processes is being manipulated, innovations in the fashion industry, to see According to Levi’s own lifecycle assessment, and generating entirely novel bad outcomes. if they can make it onto the big stage and the production of a single pair of jeans It’s not just greenwashing, it’s a new supply potentially pass the scalability test. And requires 3,781 litres of water. And Dillinger chain of false promises. watching them falter for the wrong reasons says that’s maybe a significant underestimate. And, Dillinger suggests, sustainability hurts. Dillinger is vice president of global (Levi’s is not alone in its cotton dependency, messaging in the fashion industry now has its product innovation at Levi Strauss & Co. He of course. Cotton is currently estimated to be own seasonal drive. Brands, big and small, has a BFA in fashion design from Washington the most widely used material in the apparel feel the pressure to come up with one fresh University in St Louis, and received the first industry, and accounts for about a third of planet-friendly pitch after another to push ever Fulbright scholarship for fashion in global textile production.) sales, circularity being the new recycling and 1994, studying at the Domus Academy in Water waste is the issue that really drives marine plastic the new landfill. And this Milan under Philippe Starck and Andrea him. Or perhaps the issue he can most easily seasonal demand for fresh temptations for Branzi, among others. He then moved back leverage to get his wider points across. It’s conscious consumers means that genuine to New York and, over the next 16 years, did what he calls a ‘carrier conversation’ for all but slow-growing innovation – new, more design stints at Calvin Klein and DKNY. manner of environmental damage and social sustainable technologies, treatments, More than a little disillusioned, he returned impact the industry has to square up to. »
094 ∑ Newspaper Photography: Alexander Donka/Renewcell Alexander Photography:
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‘For me, it is a key driver, because it’s the can continue to throw new product at industry’. The jean is made of 20 per cent most easily personalised, and the most easily consumers and grow sales without feeling bad recycled denim, treated by a Stockholm- measured and visualised.’ And being better about it or getting a bad press. ‘A lot of the based company called Renewcell. Established with water almost inevitably means being buzz around that optimistic presentation of in 2012 by researchers from the KTH Royal better with other things. ‘I’ve found more the circular economy is actually people’s Institute of Technology, the company has often than not, if you do good in one area, excitement about the idea of not having to be developed a process that shreds cotton and there are all sorts of positive impacts in other guilty of overconsumption. It has nothing to other natural fibres and dissolves them into places. These issues are so closely related.’ do with the actual unlocking of credible a slurry. Dyes, as well as synthetic materials, Levi’s actually launched its Water ‘To deliver those extraordinary water savings, that’s the most successful design exercise of my career’ At the Renewcell factory in Kristinehamn, Sweden, a jeans waste bale, left, is waiting to be shredded and dissolved into Circulose pulp, opposite, which can then be turned into a new fibre that acts like cotton BLACK YELLOW MAGENTA CYAN Levi’s has just launched a recycled jean that is the ‘first true expression of viable industrial circularity’ Hemp is another of Dillinger’s passion fundamentally a design problem. But as much fixed, iconic, beyond-fashion design, they are projects. And he is determined to remove its as he is a designer committed to science and easy to repair, get better with age, and people whiff of patchouli oil and hair-shirt suffering process, Dillinger says that messaging and usually keep them and then pass them on or and develop it as an alternative to cotton. curbing consumption are the central drivers sell them. They retain, if not increase, their As a crop, it requires far less water than of a more sustainable fashion industry. It’s value. This is the sustainability of durability, cotton (the hemp he is working with is rain behaviours that really need to change. of a thing treasured and cherished, that can fed), is more resistant to pests, and grows The fashion industry is producing far too get forgotten in the understandable rush to more quickly. It also pulls in more CO2 much stuff far too quickly. And we are embrace recycling or circularity. than cotton. quickly getting rid this stuff: a 2017 McKinsey Too much of our fashion is not durable, Dillinger has spent the last few years report said that consumers were keeping too fast, too cheap, too careless, and designed working with fibre technology specialists in clothing items about half as long as they did to be disposable. Some last guilt and Belgium, refining Wellthread’s cottonised 15 years before. ‘We have to design strategies science then: 50 years ago, the Aral Sea in hemp. Last year, they launched a white that don’t intentionally teach the consumer Central Asia was the fourth largest lake in denim jacket made with a blend of cottonised that the thing they buy now, that could the world. The former Soviet Union decided hemp and cotton. ‘We needed the next make them pretty now, is going to make them to develop cotton farming around the lake, season to figure out how to dye it, and the ugly and undateable next season. And in using the waters that fed it for irrigation. season after that to work out how to wash it terms of sustainability messaging, we’re The lake is now all but gone, and an area the and treat it like denim,’ Dillinger says. This relying on guilt and science. I don’t think size of Denmark is desiccated mud flats. year, they launched a pair of blue 511 jeans that’s how the orchestration and engineering What was marshes and wetlands has also using a blend of the new hemp fibre, recycled of desire goes down’. disappeared. The environmental and human cotton waste and lyocell. This jean used His central sustainability message is cost has been catastrophic. 30 per cent cottonised hemp, but Dillinger very simple: buy less, buy better. ‘In the late ‘There are UK and US brands still says a 55 per cent version should be out next 1950s, 12 per cent of discretionary household sourcing cotton from Kazakhstan and year. ‘When you see the jeans and feel the income was spent on apparel in the United Uzbekistan,’ says Dillinger. ‘They are still jeans, you would have no idea the hemp was States,’ he says. ‘Right now, it’s down to participating in the system that took the there. To do that and deliver those between two and three per cent, but the Aral Sea away. It has turned it into a toxic extraordinary water savings, with certainty quantity of apparel bought has gone up desert that blows up plumes of dust laced about the health of the soil and the water eight-fold. Some value has had to be extracted with pesticide, herbicide and fertiliser. systems in the community where that fibre in order to make that equation work, and Our industry has delivered upon the people was cultivated, that’s the most successful that value is quality.’ in the area some of the highest infant design exercise of my career.’ The only time he sticks to anything mortality rates in the world. Where’s that in In some ways the design world has enjoyed resembling a corporate line is when he talks the price point? How is that reflected in the and embraced its front-line role in the about the durability of a pair of Levi’s jeans. cost of goods? We’re totally unaware of these sustainability wars, the emphasis on design But he has a point. A pair of 501s has the externalised costs, and if we did understand thinking as a possible cure-all, and the unshouty sustainability of an Eames lounge them we would want to cry.’ ∂ presumption that increasing sustainability is chair or a Fender Telecaster; they have a levistrauss.com; renewcell.com ∑ 097 93WPR20AUG136.pgs 25.06.2020 18:35 BLACK YELLOW MAGENTA CYAN Re-Think Can you create a perfect circle? Map Project Office The industrial design consultancy’s radical, waste- eliminating overhaul of mainstream mass production Graphics Studio.Build Writer Jonathan Bell What is the circular economy? What does it look like? proposing a radical overhaul. ‘We want to challenge How can the cascade of consumption be redirected the way products are made, with new infrastructure, so that it turns inwards and forms a holistic, and new systems,’ says Map’s Will Howe. ‘As designers, unbreakable circle, a virtuous loop that saves materials, we’re considering the whole lifecycle. It’s about saves energy, and cuts down on emissions, pollution designing for things to come apart and designing in an and waste? Is it even desirable to disassemble systems industry where some things are moving much faster that have evolved over centuries, wipe the slate clean than others, and how we negate the impact that has. and start from scratch? These were just a few of the Ultimately, the question is, can we develop a new questions asked by Map Project Office at the outset terminology about product architecture that would of its work for Wallpaper* Re-Made. be interesting and quite disruptive?’ To challenge this apparent lack of accountability, As a first launch stage, Map is creating a speculative we wanted a team of designers with an intimate platform, Map Industries. Disruption can come from understanding of the complexities of modern industry. any direction. Only around 40 per cent of consumer Map Project Office was set up by Edward Barber and electronics products are currently recycled in the Jay Osgerby in 2012 as a counterpoint to the authored EU. The majority of CE-certified products become product design output of their own studio and the landfill the minute they fail, become obsolete or are architecture and interior focus of their Universal simply discarded. ‘If we’ve got to the recycling stage, Design Studio. Map focuses on crafted physical then we’ve effectively failed,’ notes Map’s Jamie Cobb. products for an increasingly virtual age. By bridging Map believes that a tipping point is looming. Rather the gap between people and technology, the real than perpetuating the well-worn cliché of ‘make do world and the virtual, it looks to solve problems and mend’, mainstream mass production must learn conjured up by the digital era. to incorporate circular thinking. An idealised system Through a series of online workshops, Wallpaper* would look like a closed loop, a true ‘ecosystem’ and Map sought to find a new approach to solve whereby all materials used are simply ploughed back endemic problems. As part of Re-Made, Map is into manufacturing once their usage cycle ends. » ∑ 099 93WPR20AUG169.pgs 25.06.2020 17:24 Rather than perpetuating the ‘make do and mend’ cliché, mass production must learn to incorporate circular thinking Power Issues and Embedded Energy consumption-reuse’ so that each segment effectively One element that is universal to every form of balances out the other and ‘reuse’ feeds back into the consumable, from smartphones and transportation to loop. This is a massive challenge to product designers food, clothing and furniture, is power. The smart and manufacturers operating in a longstanding culture devices we increasingly rely on manage to sap relatively of ‘sell and forget’. Map hopes that this preliminary tiny amounts, while familiar domestic objects still research will ultimately confront these behaviours and make up a sizeable proportion of our daily power direct talent to create better products. consumption. And yet power remains one of the most Some products appear better suited to looping than elusive of all commodities, measured in units that others, but design for disassembly needs to become the many people find hard to relate to. rule, not the exception. Companies are being more In the discussions and workshops with Map, the explicit about their ambitions in this area, like Apple, idea of promoting and accentuating the role of which states ‘we want to one day manufacture products embedded energy came up again and again. Map points without mining any new materials from the earth’. out that a key aspect of true cyclical design is how Ikea are ‘committed to designing all of our products to to accommodate the embedded energy contained be 100 per cent circular from the beginning, using only within a product before it has even left the store. renewable or recycled materials, and to developing Together, materials, manufacturing, transportation circular capabilities in our supply chain’. and distribution consist of about 75 per cent of a Big as these companies are, they acknowledge this typical small consumer electronic device, with the will be a collaborative effort between designers, actual power consumed during its usable lifetime just manufacturers, distributors, retailers and legislators. 15 per cent and the energy and time devoted to end-of- While a growing percentage of people identify strongly life processes an even smaller percentage – around one with moves to cut their personal consumption, this Above, this speculative per cent according to Apple. For larger or more energy- represents a tiny fraction of overall energy use; exploration of a product’s life cycle considers when its intensive goods, like washing machines, fridges and meaningful change must come from industry itself. various individual components kettles, the proportions are somewhat different. might eventually degrade and Endurance and Wave Theory become unusable over time, A Bigger Circle Time and time again, the question of ‘product and how these components could be separated to allow Circularity is an attainable and desirable goal. And the endurance’ is raised. Map’s initial research suggested a product to last longer and way to a more circular system is to massively increase we treat products as if they have defined lifecycles, yet stay desirable the diameter of the ‘circle’ of ‘design-manufacture- or waves. A taxonomy of these lifecycle waves might Source: Map Industries 100 ∑ BLACK YELLOW MAGENTA CYAN Re-Think start with ‘long wave’ products like speakers, screens are made is dictated not only by the designer but to or radios, wherein the base technology isn’t expected a greater extent by the company tasking the designer to evolve significantly, ensuring that the use value and setting the brief. So we need to think like remains constant throughout the product’s lifespan. companies, not designers.’ Their response is to set up We know that a traditional speaker can easily last for Map Industries as the antithesis of the dominant ‘sell 30 years. But a smart speaker is also a computer, with and forget’ model. Designing for endurance, repair, all the in-built obsolescence and compatibility issues upgrade and reuse will be the new benchmarks. that entails. ‘Mid wave’ products might have half that expected lifespan, including regularly used domestic Real Things in a Service Economy goods like washing machines, fridges and toasters. Circularity must also embrace desire; the long-life Finally, we have the ‘short wave’ category, the fast- product is part of a service, not a disposable asset. moving gadgetry that is either engineered for a glorious This is one of the keys to a circular future: the more but short lifespan or is designed to be made swiftly integrated the product is to a particular service, the obsolete by a more powerful, desirable successor. These more value can be attached to physical longevity. include the smartphone, certain toys, cameras, other The emerging ‘access economy’ is already the smart devices and even batteries themselves. mainstay of most media operations, where the idea of physically owning a copy of a film or album is anathema More From Less to millions of consumers. Companies as diverse as ‘Making do’ need not mean arresting progress, nor Philips, Citroën and FoundPop no longer treat their should it impact on our product experiences. As key wares as physical objects; you pay for the amount of technologies become more discreet and embedded, it’s light you need, not the bulbs and fixtures, or you theoretically easier to upgrade our experiences without pay for access to a city car or the short-term rental resorting to all-new hardware; a simple, compact device of furnishings for a pop-up unit. transforms a TV into a smart device, or a high-quality speaker becomes an increasingly intelligent digital Long Waves and Closed Loops assistant. Some suggest that mass acceptance of over- Display, consumption and identity are tightly bound the-air enhancements will result in the KonMari-ing together in a closed-loop system of their own. Yet many of society and the creation of this fabled loop. This of our current behaviours are driven by a product’s disregards the reality that sometimes it really is more economic life – the point at which it is more expensive sustainable to switch to a brand-new product. to maintain than replace. As Map suggests, we are at a point where the theories that have concerned Better Ageing academics for decades must rapidly relate to real life. Some products will obviously age well because of their The context in which we are creating, producing materials and construction, as well as the stability of and consuming products must change. There is no their technology and function – a chair, for example. sense in castigating the consumer if there is no genuine As Map points out, we’re now tied to an economic alternative. Map Industries wants to redefine the system based around rapid product evolution and physical artefact for a long wave future and a truly diversification. Traditional characteristics of ‘long circular product ecosystem, embracing creativity to wave’ products – such as patination, upgrade, repair ensure that desire drives us down the right path. If the and renewal – are scarcely considered. Map’s experience most sustainable behaviour of all is to keep the product is with design for mass production, not limited runs you already own, there is huge scope for shifting or one-offs. As a result, they are well placed to reshape lifecycle waves to be made more explicit, more desirable the system. As designer Matthew Cockerill, working and, most importantly of all, more achievable. ∂ alongside the team at Map, points out, ‘How products mapprojectoffice.com Designing for endurance, repair, upgrade and reuse will be the new benchmarks for mass production 93WPR20AUG171.pgs 25.06.2020 17:26 What’s the problem with crushed avocado? Fernando Laposse Exploring the devastation to local environments wrought by monoculture in his homeland, the Mexican designer harnesses his art to effect change Artwork Fernando Laposse Writers James Burke and Molly Mandell 102 ∑ BLACK YELLOW MAGENTA CYAN Re-Think Fernando Laposse takes a whole-systems of whom are descendants of the very approach to design. His work extends far Mesoamericans who domesticated the crop – beyond aesthetics to take on the politics of an additional source of income, while also food, the marginalisation of indigenous encouraging the long-term preservation of communities, biodiversity and globalisation. these endangered strains. Scratch beneath the surface, and a table or Sustainability may be a key tenet in bench can suddenly reveal much deeper Laposse’s work, but he suggests that it’s time meaning. ‘Design isn’t a magic wand that will to readdress what that concept means solve all of our problems,’ the London-based altogether. We’re still fixated on a definition Mexican designer says. ‘But it certainly can from three decades ago, Laposse explains, be used to communicate them in a simpler which essentially asks, ‘How can we develop way.’ In other words, Laposse wants to make while ensuring that the next generation will you think. have the same access to and volume of Totomoxtle is a veneer material made resources that we did?’ He proposes going from the husks of native Mexican corn, and further, instead establishing a greater perhaps Laposse’s best-known endeavour. wealth of resources for the future. He believes The husks are heated, flattened and glued that one pitfall of sustainability is its use onto fibreboards before being laser-cut, and as a means for production. Rather than the resulting material is then applied to pursuing technological innovation, Laposse furniture and interior surfaces. After Nafta, rediscovers wealth in communities such as the trade pact between Mexico, Canada and Tonahuixtla, whose knowledge and the United States, took effect in 1994, local traditional methods have largely been cast production chains for native corn species aside in a modern world. were practically eliminated. Laposse is eager On top of redefining sustainability, for his audience to see past bright, yellow Laposse aspires to move away from human- corn, a result of monoculture farming and centred design. ‘If you assume that the the homogenisation of crops, to the heirloom centre of the universe is man, and you’re only varieties from his home country that come in designing for the wellbeing of man, you’re deep purples, pinks and delicate creams. not really taking into account the natural Behind the scenes, the project takes on environment,’ he says. He advocates the a more serious socioeconomic mission. In pursuit of an improved system at a much Above, monarch butterflies at El Rosario reserve Mexico, there is a popular saying, ‘sin maíz broader level, and as such prefers to practise in Mexico; their seasonal habitat is threatened no hay país’, meaning that without corn, interspecies design. by the clearance of land for avocado production there is no country. In producing Totomoxtle, Laposse spent much of his childhood Opposite, an illustration of avocados by Laposse, among his work highlighting the problems caused Laposse partners with the Mixtec community visiting his grandmother in the Mexican state by the scale and manner of their cultivation of Tonahuixtla to offer corn farmers – some of Michoacán, where high altitude and » 93WPR20AUG144.pgs 25.06.2020 19:34 heavy rainfall prove ideal for his upcoming protect the butterflies’ seasonal habitat an avocado soap. With the final products, he focus: the avocado. The superfood, like continue to disappear. strives to inspire heightened consciousness. corn, has also experienced a decline in crop Laposse intends to guide the rhetoric ‘Everything is connected,’ he says. ‘We really diversity as its global market strengthens, surrounding the avocado industry in a similar have to be mindful about what we consume but more so, its production in the area has trajectory to that of palm oil. ‘Awareness of and how we consume it.’ He doesn’t expect led to oppression and ecological devastation. palm oil’s impact has had a great deal to do his project to overhaul the devastating Laposse aims to expose these concerns in with the story of orangutans,’ he says in consequences of the avocado trade, but with his next project, addressing the interplay reference to the tens of thousands of great increased awareness, he hopes that people between humans, other species and natural apes that died as a result of palm oil will demand transparency and make more resources more head on. deforestation. ‘It’s interesting that when you informed decisions. Currently, some five billion kilos of put the face of a wild species to a problem, Laposse harks back once more to the avocado are produced around the world each it becomes much more relatable to people.’ significance of the butterflies and Gómez’s year, and Michoacán has become the leading Informing avocado consumers about the tragic death in his efforts. ‘When you’re global producer. ‘It was November in vulnerable monarch butterfly, Laposse posits, talking about topics like global trade, Reykjavik,’ Laposse recalls of a teaching stint could serve as a gateway to discuss other worldwide consumption, and violence, you in Iceland. ‘And I was seeing these mountains industry-related issues, including violence. forget that there are people involved in all of of avocados with their stickers from Mexico.’ Laposse visited El Rosario sanctuary as this,’ he muses. ‘Once you link it to Homero In that moment, he realised the depth of the a child but returned in January 2019 with and his family, the rest of the rangers and the world’s extraordinary obsession with the his wife, a radio journalist reporting a story forest, you start to create more empathy for fruit, now often referred to as green gold. for the BBC. Their research granted them the topic. That’s something really needed in ‘It became sort of like the hipster brunch, unprecedented access to the centre of the design – to truly create that personal and propagated by this idea of health and lifestyle monarch cluster, as well as an introduction to human attachment to a story.’ and, to some degree, wealth.’ Homero Gómez, a conservationist and fierce Thus far, 2020 has been a traumatic year, As demand for the avocado grew, so did champion of the reserve. Gómez, who was but Laposse reminds us that design can play local repercussions. Drug cartels quickly outspoken about illegal logging’s threat on a powerful and proactive role in effecting developed an interest in the trade and began the butterfly habitat, was found murdered change. ‘It has this ability to synthesise very to forcefully eradicate any hindrance this past January, just one year later. His complex ideas and present them in a more to the industry. As orchards overflowed death only further fuelled Laposse’s desire to palatable way to the general public,’ he says. into protected forests, these criminal incorporate the avocado into his practice. ‘Design connects all of these different people organisations stimulated illegal logging. While compiling photo and video and aspects that otherwise may be While deforestation may aid the avocado documentation, Laposse is performing disconnected, or makes certain links that trade, it poses a threat to one of North material research to create a collection of perhaps a journalist, scientist or farmer America’s most valued insects, the monarch objects that reflect on his studies. So far, he couldn’t.’ It becomes apparent that Laposse butterfly. In the heart of Michoacán lies has been dyeing textiles with avocado pits frequently transcends the role of designer El Rosario reserve, home to pine and and skins, which produce a peach-pink hue. to become an activist. ‘How do we repair all oyamel fir trees and, each winter, millions He also plans to create interventions with of these broken systems?’ Laposse asks. And of monarchs. As more land is cleared sick oyamel trees that are felled to maintain then he dives right back into his research. ∂ to make room for farms, these trees that the forest, perhaps lacquering the wood with fernandolaposse.com Left, Laposse’s study of a monarch butterfly and avocados; and avocado-oil soap, infused with avocado leaves. ‘I also envision creating large objects, carved out of solid blocks of avocado soap,’ he says Opposite, his ideas for creating objects from oyamel wood – from felled sick trees, for example. The tree is endemic to central and southern Mexico, and is the only tree in which the monarch butterfly nests. The objects would be sealed with avocado oil soap, which acts as a wax or varnish 104 ∑ BLACK YELLOW MAGENTA CYAN Re-Think ‘Design has this ability to synthesise very complex ideas and present them in a more palatable way to the general public’ 93WPR20AUG129.pgs 25.06.2020 20:20 Can lino live forever? Christien Meindertsma The experimental Dutch designer has been working with floor maker Forbo on processes that give new creative purpose to unwanted old product Photography Mathijs Labadie Writer Rosa Bertoli 106 ∑ BLACK YELLOW MAGENTA CYAN Re-Think ‘I am generally very much wowed by linoleum’, Another project, and accompanying book, Bottom Christien Meindertsma says. The peculiar statement Ash Observatory, was subtitled An Incinerated Municipal comes halfway through an intense chat that has so Solid Waste Expedition, revealing the wealth of different far touched upon pigs, flax farming and the near- materials found in a 25kg bucket of ash from impossible task of producing paper from American incinerated household waste, which the designer prairie grass. By this point in the conversation, it is sieved, separated and catalogued. clear that the things that wow the Dutch designer are ‘I like to go where the inventions are,’ says rather out of the ordinary. Meindertsma. ‘I don’t think I am very good at designing Since graduating from Design Academy Eindhoven from behind a desk. I can only really learn through a in 2003, Meindertsma has developed a unique voice process, and the shape automatically follows the in the design world. Her projects dive deep into our research. Research is my way of designing.’ One of her relationships with objects and materials, our use of passions, she says, is learning about things she can’t resources and the history behind our daily habits. possibly find online. Although she is generally comfortable with the label Among Meindertsma’s most notable projects to date A colourful chart from of designer (she has also been called an artist and is her ‘Flax’ chair, created in 2015. Five years earlier, the Meindertsma’s research, showing the new material researcher), Meindertsma’s approach reaches far designer had bought an entire flax harvest, about ten that could be created when beyond products and concepts. Among her most tonnes, to find out if it could be processed into a new, applying her reworking notable projects was a 2007 book titled PIG 05049, environmentally friendly textile. The project developed process to the various hues of linoleum from a 1990s analysing the animal as a source of raw materials used into a collaboration with natural-fibre specialist Enkev Forbo sample book in a wide range of products, from cigarettes to concrete. and Label Breed, an organisation that promotes » 93WPR20AUG145.pgs 25.06.2020 21:02 Top left, old linoleum from a school provided raw material for Meindertsma’s experiments. She found that pressing the waste flooring in a machine called a calender, top right, produced a new material more like a ceramic Left, one of a series of tile compositions the designer has created using the technique to repurpose old Forbo linoleum samples, showcasing the colours 108 ∑ BLACK YELLOW MAGENTA CYAN Re-Think ‘I was standing next to this mini calender machine. I tried throwing old linoleum in. What happened then was magic: the machine started making new linoleum’ cooperation between designers and manufacturers. The Her eureka moment came while she was experimenting resulting chair is a fitting example of Meindertsma’s in the Forbo factory. ‘I was standing next to this mini approach: using a simple domestic object to convey the calender machine [a tool composed of two high- weight of in-depth research. She created a new pressure rollers to flatten materials into sheets], and composite material using layers of woven and felted just tried throwing old linoleum in. What happened flax, heat-pressed into the shape of a chair. ‘Within then was magic: the machine started making new the process, the chair was the right product to present linoleum,’ she explains. ‘So we discovered that you this material,’ she says. ‘You can sit on a chair, it’s quite can shred the material, but you can also put it in the an intimate, physical object.’ calender, which blends it again.’ By doing that, she The ‘Flax’ chair brought attention to the designer’s notes, the jute fibre becomes stronger and the oils are sustainable approach and her ability to think circularly. reactivated. The resulting material is drier and harder Dutch company Forbo, maker of linoleum (which the than the original, more like ceramic. brand refers to as Marmoleum, for its colourful, ‘It’s a very simple thing, but they had never done it,’ marbled surface) picked up on Meindertsma’s works Meindertsma says, as she likens her design process to and got in touch. ‘We felt a connection with Christien’s a programmer’s work: ‘You just find the language that flax project because linseed oil [derived from flax] has the least steps but is the most elegant.’ is an important element of linoleum, alongside other The collaboration with Forbo is still in progress; natural ingredients such as wood, pine-tree resin, although she has identified what to do with the old limestone and jute,’ says Peter Albertz, Forbo’s linoleum, she is now looking at where to take this new innovation manager. material. Her first designs are a series of tiles in In 2019, Meindertsma was tasked with researching different shapes, repurposing old sample books from the possibilities of recycling old linoleum and designing Forbo to create compositions that show the colour products that could be made with the resulting range. But the possibilities are quite broad, as she is material. Forbo had already investigated the potential exploring different scales and manufacturing of circular manufacturing. A year earlier, design possibilities. ‘The material is a stepping stone towards student Jaromir van Vliet (then an intern at the other things,’ she says. company), responding to a circular challenge from Meindertsma’s diverse work has been recognised by Rotterdam-based start-up incubator BlueCity, had design institutions globally, most recently with a solo developed a way of using heat to turn scraps of old exhibition at the Art Institute of Chicago. Aptly titled linoleum into the endlessly recyclable Renoleum. ‘Everything Connects’, the exhibition focused on her In itself, linoleum is a fairly green material. ‘The Flax Project, and Fibre Market, for which she examined weighted average of the Marmoleum product range 1,000 wool sweaters to reveal how their material has been independently assessed as CO2 neutral from composition differed from the content on their label, cradle to gate, without the need for carbon offsetting,’ before shredding them, using a fibre-sorting machine. says Albertz. ‘It is one of the world’s most sustainable ‘Christien Meindertsma is a fearless researcher and has non-PVC, resilient flooring materials.’ The problem been able to get behind the scenes of exceptionally with linoleum lies in its afterlife: once removed from proprietary industries to interrogate issues concerning floors, parts of glue and cement stick to it, making social and environmental sustainability,’ says Zöe Ryan, it impossible to properly recycle (it is usually mixed the Art Institute’s chair and curator of architecture and in to make cement, or sent to landfill). design. ‘She asks questions and realises projects that Van Vliet’s Renoleum employed specialist machines help us engage critically with the world and open our to granulate the linoleum as well as the cement and minds to inventive ways of thinking about design and glue parts; the resulting granules were then blended the role of the designer.’ into a new board material. After experimenting with To Meindertsma, this process is innate, built into this new composite, Meindertsma wanted to go one her design thinking. ‘I like to be open to things, step further. But first, typically, she wanted to go back taking different turns than you expect; I work so there to the source of the material. is space for this to happen,’ she says. Her collaboration She took herself to a school in the Netherlands with Forbo has so far given her the opportunity for where linoleum was being torn off the floors. She discovery and has allowed her to freely experiment, and also looked at an old sample book from the 1990s her approach has proven to fit right in with the (a collection of shades titled ‘Rhapsody in Colour’), company’s thinking. Says Albertz: ‘We see Christien as as she wanted to discover and recover as wide a a passionate ambassador for linoleum.’ ∂ range of linoleum as she could. christienmeindertsma.com; forbo.com 93WPR20AUG146.pgs 25.06.2020 21:06 Re-Think Is micro-making the future? Nate Petre The design engineer and maker of a compostable surfboard believes communities can 3D print their way to greater autonomy. He’s also planning his next board, exploring waste and enduring beauty with Atlein Photography / Writer Retts Wood When Nate Petre’s girlfriend drove her grant from Nasa’s Ames Lab, and the pair set motorbike off the side of a mountain in about sourcing a bio-based printing material. the summer of 2014, it was a eureka moment. ‘We found a company called Algix, which ‘I’d customised the lights and front end was making a biodegradable filament from a using my 3D printer. Once I’d dragged my mixture of PLA [a bioplastic made from corn] girlfriend back out of the bushes (thankfully and invasive algae, which grow in bodies of unharmed), and looked at the bike, I realised water in the American South as a by-product that, with the CAD in the cloud, all I’d of fertiliser pollution.’ need to repair it was someone with a printer,’ After a few months slaving over a says Petre. printer, Petre presented the world’s first fully The idea of Disruptive Distributed compostable 3D-printed surfboard at a Manufacturing (DDR) – individuals and sustainability event in Portland, Oregon. communities manufacturing locally using 3D His next step was to build a printer big printers, rather than relying on international enough to produce the surfboard in one piece. factories – had been rolling around Petre’s ‘I had so much to learn, but if I messed up I head for a while, but it was on that Basque could easily get more material, as I hairpin bend that he first saw how smoothly had access to everything. I didn’t entirely it could work: instead of ordering new address the question of DDR, which was parts and waiting, he could simply print more about being able to print in the jungle out the pieces he needed, anywhere in the or in an impoverished country.’ world, with a 3D printer. His chance to further investigate his Back at Imperial College in London, theories came when he met philanthropist where he was researching his PhD, Petre Francesca von Habsburg (W*98), who invited realised that his interest lay in the socio- him to continue his material research at economic and environmentally helpful Alligator Head, her marine conservation possibilities of 3D printing. But he also found foundation in Jamaica. himself pining for the ocean. ‘My idea was to go to Jamaica, turn ‘I’ve always loved the sea, and surfing. invasive seaweed into a bioplastic, and print I was trying to figure out whether it would be from it – which was incredibly naive. I hadn’t possible to print surfboards, and maybe make realised how difficult it would be to work Nate Petre in Jamaica surfing more sustainable in the process.’ without access to the supply chain. Working with sections of a surfboard 3D-printed A chance meeting with Jeff Hamaoui, a in a tiny, ill-equipped kitchen, using using local recycled like-minded Silicon Valley strategist, led to a household products like drain cleaner in » ocean plastic 110 ∑ BLACK YELLOW MAGENTA CYAN Newspaper ∑ 000 93WPR20AUG147.pgs 25.06.2020 22:00 Re-Think ‘I’d started off printing motorbike parts, then a surfboard, but the endgame was always to print something useful – roof tiles, or water pumps’ Left and opposite, earlier this year, Petre worked with Makerversity to establish a micro- manufacturing site at Somerset House in London. Working with a small team of Makerversity members and using open-source designs, 65 3D printers have been creating 1,500 face visors for health workers every day. The process uses bioplastic and Petre and the team have been testing tweaked designs to improve comfort and durability lieu of the chemistry lab I needed, I managed Caribbean was more urgent than creating printing motorbike parts, then a surfboard, to create a thin, encapsulating membrane an alternative material. Using machines built but the endgame was always to print from seaweed. But producing filament would from the open-source plans of community something useful – roof tiles, or water pumps, have taken much longer, and required recycling project Precious Plastic, Petre set things like that – and use the readily available shipping in chemicals.’ up a micro recycling plant at Alligator Head, plastic waste to do that. Polio is an issue in To add to his woes, large chunks of his available for the community to use, alongside the area of Kampala where I was working, and printer were lost en route to Kingston, the printer. people with lost or withered limbs make pads and with no access to filament, he couldn’t Petre was also introduced to Nachson using discarded flip-flops, which are battered use his desktop machine to reprint them. Mimran, whose foundation To.org and ill-fitting. With the printer, they could ‘I was in the local mini-market, helps developing communities ‘challenge custom-make pads to fit individuals’ needs. despondently trying to figure out which the humanitarian industrial complex’ ‘You fly in with this stuff in your suitcase, products I could harvest chemicals from, and become self-sufficient. Mimran set it up in a few hours, and transform a when I spotted the reels of strimmer cable, commissioned Petre to set up a similar hub community’s ability to answer needs for itself. looking very like filament.’ in an impoverished neighbourhood in That’s the crux of this concept.’ The strimmer cable turned out to be made Kampala, Uganda. While Petre’s experiences in Jamaica and from nylon – which prints well – and was ‘In Jamaica and Uganda, I found endless Uganda highlighted the potential of his ideas, exactly the right diameter for his print head. like-minded souls – engaged and interested exposing flaws along the way and allowing He’d found his material. ‘The next step was people who wanted to provide for their him to iron them out, the real test came realising, in this very humid climate, that families and to change their communities closer to home. He had just taken a space at materials need to be super dry. This time the through grassroots projects. Because I come Makerversity, a tech hub and studio complex off-the-shelf answer was a food dehydrator.’ from a background of privilege, I was armed in the basement of Somerset House in It also became clear that dealing with the with the knowledge to set up machines and London, when it became clear that the new waves of waste plastic washing into the teach people to use them. I’d started off virus sweeping across Wuhan would not be BLACK YELLOW MAGENTA CYAN ‘You fly in with this stuff in your suitcase, set it up in a few hours, and transform a community’s ability to answer needs for itself. That’s the crux of this’ contained. As Covid-19 reached Europe, he Biomaterials remain at the forefront of his made object that would last for generations, realised that his plans to develop DDR had thinking, too. The most common material gathering scars as it passes from hand to a new urgency: with China in lockdown, to print from is PLA, ‘but what people hand, but we’ve gotten so good at chemistry a huge part of the world’s manufacturing don’t necessarily realise is that it’s only that we expect things to look flawless. capability was out of action – and without commercially compostable. If you put it in We’re so used to everything being new and it, the UK was in trouble. your home compost, or send it to landfill, it disposable that if something breaks we Working with Dr Dominic Pimenta, who takes, at the very least, 80 years to biodegrade. replace it, and that “Amazonisation” of our had co-founded the Heroes charity to support I spent my twenties and early thirties consumer spending habits has led to NHS workers, Petre set up 65 printers at working as a cook, and thinking about food ridiculously short object lifespans, and ever Makerversity and refined open-source designs led me to look at kitchen waste, which has more waste. to create a CE-certified face shield, eventually led me, a decade later, to look at how food ‘Antonin is interested in lacquer work printing 1,500 per day. waste could be used in manufacturing. – layers of protection that over time develop With the print farm now running Shrimp shells, chicken feathers, mycelium – flaws and shadows and, with that, a story and smoothly, Petre is considering his next move. they could all, theoretically, make bioplastic.’ value. I’m really looking forward to exploring ‘I’ve been cycling to Makerversity, and I look He’s also thinking about surfboards again, depth and age as we mine waste resources, down and think – could I make the bicycle this time in collaboration with fashion label and printing something that eventually has I’m riding? If not the bike, then parts of it? Atlein’s Antonin Tron (W*252). ‘3D printing, heritage and patina. Here’s this essential mode of transport particularly in plastic, is seen as disposable. ‘At the moment, printing is seen as a worldwide, pretty much always factory-made It’s either used for prototyping or making novelty. Give it ten years and I feel like you and shipped. But what if each key worker something cheaply. Antonin and I want to might see a lot of locally manufactured anywhere in the world was to get a free, create a surfboard from things like waste goods in your house. Some of them might locally produced bicycle made from locally fishing nets, but allow it to age with beauty. even end up being heirlooms.’ ∂ sourced and recycled materials?’ Humans always had this appreciation for a nathanielpetre.com; atlein.com ∑ 113 93WPR20AUG151.pgs 25.06.2020 22:01 Re- * Beyond the New. Silent Spring Our Wallpaper On the Agency of Things by Rachel Carson Re-Made by Hella Jongerius and Louise Schouwenberg The Revolutionary Genius of Plants: reading list A New Understanding of How to be an Antiracist Plant Intelligence and Behavior by Ibram X Kendi by Stefano Mancuso Design as an Attitude by Alice Rawsthorn The Death and Life of Great You are Not a Gadget: American Cities A Manifesto Operating Manual for by Jane Jacobs by Jaron Lanier Spaceship Earth by R Buckminster Fuller How to Do Nothing: Resisting The Age of Living Machines: the Attention Economy How Biology Will Build the Next Happy City: Transforming our by Jenny Odell Technology Revolution Lives through Urban Design by Susan Hockfield by Charles Montgomery The Uninhabitable Earth by David Wallace-Wells The Beauty of Everyday Things We Should All be Feminists by Soetsu Yanagi by Chimamanda Ngozi Adichie How to Thrive in the Next Economy: Designing Tomorrow’s World Today Design, Nature, and Revolution: Fashionopolis: The Price of Fast by John Thackara Toward a Critical Ecology Fashion and the Future of Clothes by Tomás Maldonado by Dana Thomas Doughnut Economics: Seven Ways to Think Like Invisible Women: Constructed Narratives a 21st-Century Economist Exposing Data Bias in a World by David Adjaye by Kate Raworth Designed for Men by Caroline Criado Perez The Life of Plants: Broken Nature: A Metaphysics of Mixture Design Takes on Human Survival Design for the Real World: by Emanuele Coccia by Paola Antonelli and Ala Tannir Human Ecology and Social Change by Victor Papanek Fewer, Better Things: Woman and Nature: The Hidden Wisdom of Objects The Roaring Inside Her For more, see Wallpaper.com ∏ by Glenn Adamson by Susan Griffin connect 114 ∑ BLACK YELLOW MAGENTA CYAN 93WPR20AUG118.pgs 25.06.2020 21:50 BLACK antolini.com Designed bynature, inItaly. perfected andpatternform: design,colors handed to usbyhistory. of theages,skinofheartbeat ourplanet.Itispurityinitsmostperfect force distilledinto astonishing creations. Afragmentof thestream of life,the Antolini believes inthepower of whatisreal. MotherNature’s tremendous Patagonia ÒOriginalÓ YELLOW MAGENTA CYAN (Granite) HAUTE NATURE ¨ 93WPR20AUG173.pgs 11.06.2020 11:19 DESIGN ALESSANDRO LASPADA © 2020 Antolini Luigi & C. S.p.a. - All Rights reserved. BORN IN LE BRASSUS RAISED AROUND THE WORLD AUDEMARS PIGUET BOUTIQUES LONDON : SLOANE STREET · HARRODS FINE WATCHES AP HOUSE LONDON : NEW BOND STREET BLACK YELLOW MAGENTA CYAN 93WPR20AUG184.pgs 18.06.2020 09:05