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    Natural Material Studio crafts entire home interior from bioplastic

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    As part of 3 Days of Design, Danish practice Natural Material Studio has created a futuristic fossil-free home interior where all the elements, from the curtains to the sofa, are made from the same bioplastic.

    White Utopia is Natural Material Studio’s most ambitious installation to date, adapting the studio’s Procel bioplastic to form massive functioning furniture pieces across three separate rooms – a dining room, a lounge and a bedroom with a walk-in wardrobe.
    The White Utopia installation includes a lounge (top image) and dining room (above)The exhibition envisions a future where our homes are made entirely using biomaterials like this, which can be endlessly remade into new products and backyard composted at the end of their life, rather than ending up in landfill.
    “The installation has for sure been the most challenging to date due to the complexity in scale and the three-dimensionality of the whole ‘house’,” studio founder Bonnie Hvillum told Dezeen. “You can really start to see how we can live with these new materials.”
    Every element down to the lampshades is made from Procel bioplasticNatural Material Studio initially developed Procel as a flexible biotextile, used to form everything from clothes to curtains. But recently, the studio started experimenting with adapting its recipe to create whole load-bearing furniture pieces.

    The core ingredient is a specific – although nondisclosed – natural protein, which Hvillum says can be derived from either plants or animals.
    Among the larger pieces is a monobloc biofoam sofa”It’s very much used in the medical industry, also in bookbinding,” said the designer, who sources her protein from different suppliers across Europe.
    “It’s used in many different places,” she added. “But when I called them and said ‘can you figure out a way of supplying this to me’, they were like ‘okay, we’ve never had this question before’.”
    The installation also features a bedroom with a walk-in wardrobeTo create Procel, this natural protein is mixed with a small amount of chalk for strength and a natural softener made from plant oils for flexibility.
    Combined in different rations and cast into different moulds, this mixture was used to create not just the textile room dividers found in White Utopia but an entire bio-foam sofa for the living room, stools for the dining area and a giant platform bed that visitors were encouraged to sit on.

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    By taking out the softener, Natural Material Studio was also able to create more rigid pieces, including a dining table that was originally cast as a simple rectangle but deformed into a more organic shape as it dried.
    “The presented design objects are really pushing the possibilities of these materials,” Hvillum said. “Opening the door to making them structural is a completely new route for us.”
    “I think it holds so much potential, creating materials that resemble polystyrene and vacuum-formed plastics.”
    Visitors were encouraged to sit on the bioplastic bedFurnituremakers including Isomi and Natuzzi have already started experimenting with using natural latex as an alternative to traditional polyurethane upholstery foam, as the plastic is hard to recycle and contains toxic chemicals.
    Hvillum argues that Procel could offer another promising alternative, as it can be endlessly recast to form new products or simply buried outside in the garden, where it will degrade within a month.
    “We are basically investigating fluidity,” Hvillum said. “So everything is in motion and things can move on to have another life. ”
    “This is how we envision the future to be.”
    Procel biotextiles were also used to form wall coveringsProcel has already made it out into the real world with clients including Calvin Klein and Copenhagen restaurant ÅBEN.
    A collaboration with a Spanish luxury fashion house is also in the works, despite the brand being weary of using animal-derived protein.
    However, Hvillum argues that animal polymers can actually be more sustainable than their vegan counterpart because they are made from waste residues from the meat industry.
    The dining table deformed as it dried”When we work with animal-based materials, we can actually tap into a waste flow so we work with second-generation materials,” she explained. “Whereas when we work with plant materials, we work with virgin materials.”
    “Sustainability is a lot more complex than just: is it animal or is it vegan,” she added. “It’s more about: what sources can we reuse from so that we keep things in a circular loop.”
    The photography is by Peter Vinther.
    White Utopia was part of 3 Days of Design, which took place at venues across Copenhagen from 12 to 14 June. See Dezeen Events Guide for more architecture and design events around the world.

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      RooMoo reuses distillery’s old whiskey barrels to decorate its bar

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      Chinese interiors studio RooMoo has used nearly 6,000 pieces of oak from discarded distillery barrels to adorn this whiskey bar in Shanghai.

      Laizhou Bar is located in the city’s buzzy Xuhui District and is an offshoot of Laizhou Distillery, a Chinese whiskey producer based out of Sichuan province.
      Wood offcuts from Laizhou Distillery’s whiskey barrels feature across the bar’s facadeThe distillery prides itself on reducing its environmental impact by using low-temperature saccharification machinery and collecting wastewater so it can be converted into biogas energy.
      So Shanghai-based studio RooMoo placed a similar emphasis on sustainability when designing the bar, where almost 6,000 pieces of wood from the distillery’s discarded oak barrels were reused as decoration.
      The offcuts were then used to construct a ringed structure on the bar’s ceiling”The bar imports the materials used in the distillery’s production process, creating a symbiosis between the two spaces,” said the studio.

      “Each dismantled barrel piece was different in terms of width, length and grain, so we classified them and applied them to different positions.”
      RooMoo assessed and classified all of the offcuts before useBarrel pieces are first seen on the bar’s facade, where they have been placed horizontally to create a lattice-like effect.
      The facade is otherwise only punctuated by a wide-set door and an expansive window, where barrels printed with the distillery’s logo are displayed.
      The bar’s slatted partition walls are also made from barrel offcutsOnce inside, guests step into a whiskey sampling area with a green marble tasting counter. Suspended directly above the space is a dramatic double-ringed sculpture crafted from barrel offcuts.
      More wooden barrel pieces were used to construct a curving, slatted partition in front of the main bar.
      A long seating banquette bends around the back of the room, accompanied by a series of black tables and leather chairs. There is also a huge light-up wall where liquor bottles are put on display.
      Black leather furnishings were incorporated throughout the main bar areaOn the ceiling here are the beginnings of another ringed sculpture, which will be completed as soon as the distillery has used up more barrels for the studio to use.
      “We made the ceiling structure beautiful enough to open the bar first,” explained the studio. “We are not hurrying to finish it, but following the production process and waiting for the wasted materials to be produced.”
      Off to the side of the main bar is a more private VIP tasting room. At its centre hangs a bespoke light crafted from the circular metal bands, which once held together the distillery barrels.
      The ceiling sculpture will be completed once the studio receives more offcutsLai Zhou Bar has made it to the shortlist in the sustainable interior category of the 2023 Dezeen Awards.
      The project is up against Edit restaurant by Elly Ward and Joe Morris, which is clad with salvaged terracotta tiles, and the Big Beauty store by Nina + Co, which is decked out in biomaterials like mycelium.

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      Lab La Bla uses “hyper-ordinary materials” for energy operator HQ interior

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      Local studio Lab La Bla sourced diabase rock from a nearby mine and created seating from MDF and recycled cork for the interior of energy company E.ON’s headquarters in Malmö, Sweden.

      Lab La Bla designed the headquarters’ reception area, coat room and lounge area, while also creating furniture, sculptures and other accessories across nine floors of the 22,000-square-metre building.
      The studio aimed to create a sequence of space that had variety, while taking inspiration from sources including airport terminals.
      The studio used recycled materials for the interiors”Creating work for an office that houses 1,500 employees is both challenging and inspiring,” co-founders Axel Landström and Victor Isaksson Pirtti told Dezeen.
      “It’s about creating spaces and functions that cater to the many while offering a mix of focus, creative and social environments, so it’s really about designing for the masses without making it boring or generic,” they added.

      “There’s a current fascination about airport interiors in the studio, so for the reception area we drew from that source of inspiration.”
      Seating was made from MDFIn the reception area, the studio created a set of sunny yellow furniture made from medium-density fibreboard (MDF) covered in nylon fiber.
      “The overall project for us is sort of a reaction to dysfunctional and non-sustainable processes inherent within our industry,” the studio explained.
      “For the reception area MDF and screws have been coated with repurposed nylon fiber using a technology commonly seen in the automotive industry, resulting in furniture that celebrates leftover material but without compromising on durability.”
      A bench features a “melting” diabase stone detailFor the building’s central atrium, Lab La Bla designed an unusual bench that features a gloopy stone decoration resembling an oil spill.
      This was created using diabase stone, which is famous for its blackness and was mined nearby in southern Sweden. The process of creating it was informed by its setting at an energy company headquarters.
      Lab La Bla sourced local materials for the project”Since electricity and magnetism are essentially two aspects of the same thing – and E.ON being an electric utility company – we thought it suitable to introduce magnetism as a modelling tool,” Landström and Isaksson Pirtti explained.
      “The shape of the piece comes from dropping a lump of magnetic slime on top of a conductive material,” they added. “The slime seemingly randomly slump and drapes over a metal bar before settling in its final shape.”

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      Lab La Bla then scaled this shape up and hand-sculpted the shape from a single block of diabase, which was finally sandblasted and polished.
      “We see this process as an adventurous exploration in making a physical representation of the invisible force that shapes our world,” Landström and Isaksson Pirtti added.
      Mouth-blown glass panels form a three-metre-high sculptureThe studio also turned brick beams, left over from the construction of a school in Malmö in the early 1900s, into umbrella stands, and sourced mouth-blown glass panels from one of the few remaining producers of the material.
      This was used, together with dichroic glass, to create a three-metre-high glass sculpture with a graphic pattern that depicts a CT-scan of a wood-fibre material.
      Glass sculptures were formed inside hollowed-out tree trunksLab La Bla also created decorative vases and glass sculptures using molten glass blown into tree trunks that had been hallowed by fungal decay. The trunks were sourced from E.ON’s own local heating centre.
      These trunks “serve no industrial purpose, but are burnt for energy by E.ON and used for teleheating for Malmö,” the studio said.
      “We borrow these tree trunks to blow glass in them, before returning them to their final purpose.”
      Lounge sofas were made from ground-down wine corksIn the headquarters’ lounge areas, the designers created modular sofas made from ground-down wine corks sourced from restaurants.
      “The modular cork sofa uses a unique process where 100 per cent recycled cork is sprayed onto a foam structure, proudly incorporating signs of imperfection into the design while bringing superior durability and sustainability to your furniture,” Landström and Isaksson Pirtti said.
      A table has an office-style glass relief with a keyboardTo the designers, the aim of the interior design was to use disused or forgotten materials, as well as ones that were recycled and recyclable.
      “We took a conscious decision of picking hyper-ordinary materials such as MDF and aluminium to pinpoint and educate people about cyclic and sustainable qualities inherent in the processes of creating these materials,” the studio said.
      “We often try to celebrate the beauty and intrinsic qualities of everyday, industrial materials otherwise consigned to temporary or low-cost construction solutions,” it added.
      “We wanted to design objects which require significant time and skills from craftspeople, usually reserved for expensive, rare and high-quality materials – to some of the very inexpensive and found materials that we used throughout the project.”
      Lab La Bla’s designs have previously been shown at the Moving Forward exhibition at Stockholm Design Week and as part of the Metabolic Processes for Leftovers exhibition in Malmö.
      The photography is by Lars Brønseth.

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      Tomás Saraceno adapts Serpentine gallery to welcome all species

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      Argentinian artist Tomás Saraceno has changed the HVAC and electrical system of the Serpentine gallery in London, in an effort to make an exhibition for all the nearby species.

      Titled Web(s) of Life, the exhibition presents some of the artist’s most recent and well-known environmentally focused works, while also encompassing interventions into the building itself.
      These interventions aim to make the Serpentine South building housing the exhibition more porous and responsive to its setting in Kensington Gardens, challenging anthropocentric perspectives that only consider the interests of humans and not any other beings.
      Tomás Saraceno has made changes to the Serpentine South building for his exhibitionSculptures made for the enjoyment of a variety of different animals are placed on the building’s grounds, facade and roof as well as inside the building, while complex webs woven by multiple types of spiders working “in collaboration” with Saraceno feature inside the dimly lit galleries.
      “You see that many architectures today are somehow not so inclusive of what is happening on the planet,” said Saraceno, who trained as an architect. “I’m very happy to think that for the first time at the Serpentine, there are many spiderweb pavilions.”

      “It’s a little bit about trying to think how animal architecture could enter into the discourse and how we need to have a much more equilibrated and balanced way of building cities today on Earth,” he told Dezeen.
      Saraceno’s Cloud Cities sculptures can be found in the groundsTo make the gallery interior more comfortable for spiders and other insects, the equipment that controls the building’s temperature and humidity has been switched off and some doorways opened to allow for free movement of both air and animal life.
      Given the exhibition will run throughout the British summertime, this might mean some discomfort for human visitors – but within limits. According to the Serpentine’s chief curator Lizzie Carey-Thomas, the gallery will allow the staff on its floor to decide when conditions are too hot for them to work safely or for visitors to have an enjoyable time.
      At that point, the gallery will close rather than switch on the air-conditioning, encouraging visitors to enjoy the installations outside in the park and under the trees.
      The sculptures also feature inside the galleryA further intervention by Saraceno comes in the form of a new solar array on the Serpentine’s roof, which will power all the films and lights in the exhibition.
      The destructive effects of lithium mining on the environment and Indigenous communities is a key theme of the exhibition. So Saraceno and the Serpentine are avoiding the use of a lithium battery and instead embracing the intermittency of solar power by adapting the exhibition’s energy use to the level of sunshine outside.

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      On cloudy or partly cloudy days, films will run less frequently and lights will be dimmed. On particularly sunless days, the films may switch to audio-only, while some lights will switch off altogether.
      “The irony there is that on the extreme heat days with lots of sun, we will have full power but we won’t be able to open the exhibition,” said Carey-Thomas.
      As the Serpentine South building is heritage listed, both Carey-Thomas and Saraceno say the process for making any alterations was complex and drawn out, with approval for the solar panels taking two years and other plans to remove windows and doors quickly abandoned.
      The exhibition environment is meant to be more comfortable for spiders, whose webs are on displayThe works within the exhibition include Saraceno’s Cloud Cities sculptures, which feature compartments specifically designed for different animals such as birds, insects, dogs, hedgehogs and foxes.
      The artist is also screening a film that documents one of the instalments of his Aerocene project, which involves making an entirely fossil-free aircraft powered purely by air heated by the sun with no need for batteries, helium, hydrogen or lithium.
      In the film, the Aerocene team completes the world’s first piloted solar-powered flight, flying a balloon sculpture over the highly reflective salt flats in Salinas Grandes.
      A film in the exhibition documents Saraceno’s fossil-free flight projectThere is also a work created specifically for children, called Cloud Imagination, which is accessed through a dog-shaped door that’s too small for most adults to enter.
      Saraceno and the Serpentine describe the Web(s) of Life exhibition as having been created “in collaboration” with a host of different contributors, both human and non-human.
      These include the communities of Salinas Grandes and Laguna de Guayatayoc in Argentina, spider diviners in Cameroon, the communities around Aerocene and Saraceno’s Arachnophilia project, and the lifeforms found in the Royal Parks surrounding the Serpentine, which will continue to evolve the works over the next three months.
      The films may run less frequently when the levels of solar energy are affected by cloud coverThe artist and gallery also want to extend the ethos of the exhibition to the potential sale of the artworks by developing a scheme called partial common ownership or, Saraceno hopes, “partial common stewardship”, which means any buyer would “co-own” the work along with a designated species or community.
      Another recent artwork to have explored ideas of intermittency in energy and design is Solar Protocol, which looks at the potential of a solar-powered internet.
      The photography is by Studio Tomás Saraceno.
      Tomás Saraceno In Collaboration: Web(s) of Life will take place at Serpentine South in London, UK from 1 June to 10 September 2023 and culminate with a day-long festival on Saturday, 9 September including a weather-dependent Aerocene flight. For more information about events, exhibitions and talks, visit Dezeen Events Guide.

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      Energy-saving 10K House in Barcelona is a “labyrinth that multiplies perspectives”

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      Spanish studio Takk took cues from snugly stacked Russian dolls for the interior renovation of this Barcelona apartment, which features rooms nestled inside each other to maximise insulation.

      Called 10K House, the 50-square-metre apartment was renovated by Takk using a material budget of only 10,000 euros with the aim of updating the home to be as sustainable as possible.
      10K House is a residential interior design projectThe project was informed by concerns about climate change as well as the global energy crisis faced by homeowners and renters.
      Arranged across one open level, rooms were built “inside one another” in a formation that mimics the layers of an onion and places the rooms that require the most heat at the centre of the apartment, according to Takk.
      The bedroom is raised on recycled white table legs”This causes the heat emitted by us, our pets or our appliances to have to go through more walls to reach the outside,” principal architects Mireia Luzárraga and Alejandro Muiño told Dezeen.

      “If we place the spaces that need more heat – for example, the room where we sleep – in the centre of the Matryoshka [a Russian doll] we realise that we need to heat it less because the configuration of the house itself helps to maintain the temperature.”
      “The result is a kind of labyrinth that multiplies perspectives,” explained the architects, who designed the project for a single client.
      MDF was used throughout the apartmentRecycled table legs were used to elevate these constructed rooms to allow the free passage of water pipes and electrical fittings without having to create wall grooves, reducing the overall cost.
      For example, the raised central bedroom is clad in gridded frames of medium-density fibreboard (MDF) that are enveloped by slabs of local sheep’s wool – utilitarian and inexpensive materials that feature throughout the interior.
      “Despite being a small apartment, it is very complex to ensure that you never get bored of the space,” said Luzárraga and Muiño.
      The remnants of previous partitions were left exposedAfter demolishing the apartment’s existing internal layout, Takk chose not to apply costly and carbon-intensive coatings to the floors and walls.
      Rather, the architects scrubbed the space clean and left traces of the previous partitions and dismantled light fixtures visible, giving the apartment a raw appearance and maintaining a reminder of the original floor plan.
      The kitchen features a metallic sink and low-slung cabinetsThe kitchen is located in the most open part of 10K House, which includes timber geometric cabinetry and an exposed metallic sink.
      According to the architects, the open kitchen intends to act as a facility “without associated gender” and address stereotypes typically attached to housework.

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      “Traditionally, the kitchen has been understood as a space to be used mainly by women, whether they own the house or do domestic work,” reflected Luzárraga and Muiño.
      “This has meant that [historically] this space has been relegated to secondary areas of the house, poorly lit and poorly ventilated, especially in small homes.”
      “One way to combat this is by placing the kitchen in better and open spaces, so that everyone, regardless of their gender, is challenged to take charge of this type of task,” they added.
      10K House was constructed using CNC-milled componentThe dwelling was constructed using CNC-milled components that were cut prior to arriving on-site and assembled using standard screws.
      Takk chose this method to encourage DIY when building a home, and armed the client with a small instruction manual that allowed them to assemble aspects of the apartment themselves “as if [the apartment] were a piece of furniture”.
      Takk was informed by soaring energy prices when designing the project10K House is based on a previous project by the architecture studio called The Day After House, which features similar “unprejudiced” design principles, according to Luzárraga and Muiño.
      The architects – who are also a couple – created a winter-themed bedroom for their young daughter by inserting a self-contained igloo-like structure within their home in Barcelona.
      The photography is by José Hevia.

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      Hotel guests not ready to pay more for sustainability says Conscious Hotels CEO

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      Only “hardcore sustainable” customers are currently willing to pay extra for eco-conscious hotels, according to Marco Lemmers, CEO of hospitality company Conscious Hotels.

      Lemmers predicts that hotel guests will be prepared to pay more for sustainability in the future, but it will be “a few years from now”.
      “I think people will be prepared to pay more for a sustainable solution,” he told Dezeen.
      “We’re not there yet, because the hotel business is still quite price-sensitive. You have to be hardcore sustainable to want to pay €10 euros extra for a sustainable stay. But slowly it’s moving in that direction.”
      Marco Lemmers is CEO of Conscious Hotels. Main image: the all-electric Westerpark venue is one of four Conscious Hotels in AmsterdamLemmers, who founded Conscious Hotels in 2009, spoke to Dezeen during The Lobby hospitality design conference in Copenhagen in August.

      Conscious Hotels has four properties in Amsterdam. These hotels have eco-friendly policies in place for all of their operations, including interior fit-out, energy and water use, food and drink, and cleaning processes.
      According to Lemmers, the company’s sustainability ethos has enabled it to build a loyal customer base.
      “We’re the most sustainable option in Amsterdam, so we see a lot of returning guests” he said.
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      The brand’s mantra is “eco-sexy, big smiles”
      However this alone is not enough to make the business thrive, Lemmers explained. Conscious Hotels aims to be competitive in terms of design and cost, so it can also attract non-eco-minded customers.
      “The only way to make change is to seduce people,” he said.
      “We have our sustainable planet promises but we also have to make it sexy. Sexy is about having beautiful places, beautiful food and drink, and beautiful people.”

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      Looking forward, Lemmers predicts that changes in legislation will soon give eco-minded hotels a competitive advantage over rivals.
      He believes that hotel owners in Europe will soon be legally obligated to meet much stricter rules on the sustainability of their buildings and operations.
      “We’ve already seen it happen in the Netherlands with offices and the same will happen with hotels,” he stated.
      “Even if you don’t believe in sustainability, do a SWOT analysis in the next business planning cycle and see the threat.”
      The Tire Station of one of two Conscious Hotels with its own source of solar powerThe CEO says that hotels lagging behind need to urgently rethink their approach, or risk playing catchup.
      “There’s an opportunity now – if you have sustainability in order, you have a competitive advantage,” he said. “Pretty soon legislation will push you to go there anyway, and there’s usually not a lot to be gained by being one of the last movers.”
      Conscious Hotels implements a number of guidelines in order to reduce its environmental impact.
      All the materials used for hotel fit-out are either natural products with cradle-to-cradle certification, or they are recycled or second-hand.
      Interiors only use materials that are recycled, second-hand or certified cradle-to-cradleConscious Hotel Westerpark is 100 per cent electric-powered, with most of its energy supplied by the brand’s own windmill, while two of the other hotels generate energy from rooftop solar panels.
      Restaurants serve organic food, with more than 50 per cent vegan or vegetarian dishes, and almost all produce is sourced from local suppliers.
      Other initiatives include green walls, passive heating and cooling systems, organic cleaning products, water-saving showerheads and faucets, refillable toiletries and waste separation.
      All food and drink is sourced from local suppliersWhile Lemmers acknowledges that some of these initiatives require time and investment, particularly for large hotel chains, he claims that others are easy to implement.
      He believes that all hotels could easily take at least one step towards improving their sustainability credentials.
      “Start with the operation; you can do it today,” he said. “Just procure stuff that’s local instead of having it come from the other side of the world.”
      “FF & E (furniture, fixtures and equipment) comes slightly later, but you have to invest in that every seven years anyway, to maintain and renew.”
      Conscious Hotels currently has 318 rooms across its four Amsterdam hotels, although the brand plans to increase this to 1,500 as part of a Europe-wide expansion.

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      The Circus Canteen interior is a “collage of unwanted items”

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      Local studio Multitude of Sins has created an eclectic restaurant interior in Bangalore out of a mishmash of reclaimed materials, including discarded bicycle bells and cassette tape boxes.

      Officially called Big Top but known as The Circus Canteen, the restaurant is shortlisted in the sustainable interior category for a 2022 Dezeen Award.
      The Circus Canteen interior is made of almost all reclaimed materialsMultitude of Sins sourced the components that make up the interior from a city-wide waste donation drive held over several weeks.
      The materials were then painstakingly curated into distinct categories, ranging from home appliances to toy cars, and used to design an eclectic interior featuring mismatched furniture and flooring.
      Visitors enter through a series of scrap metal archwaysLess than 10 per cent of the materials used to create the interior were sourced as new, according to the studio.

      “The Circus Canteen [was informed by] the concept of creating a collage of unwanted items with a curatorial spirit,” Multitude of Sins founder Smita Thomas told Dezeen.
      Multitude of Sins created booths out of mismatched objectsVisitors enter the restaurant through a bold scarlet door decorated with unwanted bicycle bells and humourous hand horns, which is accessed via a series of labyrinthine archways made from teal-hued scrap metal.
      The archways are illuminated by alternative chandeliers composed of dismantled bicycle chains and old vehicle headlights.
      Some of the restaurant tables are decorated with old CDsInside, the two-level dining area is made up of custom tables and seating that double as a set of striking installations.
      Salvaged objects used to create these booths include abandoned sofas, obsolete bathroom ventilators and colourful coffee tables created from old oil barrels sliced in half and topped with glass surfaces.

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      “One man’s trash is another man’s treasure,” acknowledged Thomas. “We have seen and felt this phrase come to life as we pieced together The Circus Canteen.”
      The restaurant’s flooring is a jigsaw puzzle-style mosaic of sample tiles sourced from ceramics stores, while a kitchen serving hatch is framed by a colourful collection of outdated cassette tape boxes.
      A serving hatch is framed by cassette tape boxesPrompted by the desire to create an eatery interior with a minimal carbon footprint, Multitude of Sins’ project responds to many designers’ growing concerns about the wastefulness of their industry.
      “The creation of each element – from custom lighting and flooring to art installations and furniture – was attributed to the mercy of the waste donation drive,” said Thomas.
      “It reminds us of adapting skillfully, to reinvent with agility.”
      The Circus Canteen intends to address wastefulness in the design industryThe Circus Canteen is part of Bangalore Creative Circus – a project formed by artists, scientists and other “changemakers” who host various community-focussed events in the Indian city.
      Other eateries that feature reclaimed materials include a restaurant in Spain with elements made from upcycled junk and site construction waste and a cafe in Slovenia defined by recycled components that create a mix of patterns and textures.
      The photography is by Ishita Sitwala.

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      Urselmann Interior renovates own office using recycled and biodegradable materials

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      Düsseldorf studio Urselmann Interior has renovated its own office interiors using biodegradable, recycled or upcycled materials, including glueless joinery and a cellulose-based wall cladding.

      The interior design studio said that it renovated its self-described “circular” office in the German city to only feature materials that are either recycled, upcycled or biodegradable.
      Urselmann Interior’s office is in DüsseldorfThese include existing wooden and terrazzo flooring that was salvaged during the renovation, as well as heaters obtained from resource-efficient building material platform Concular.
      Spread over one main workspace, a kitchen and a meeting room, the single-level office features clay paint walls and is designed to be used as both a co-working space and a showroom.
      The renovation includes a kitchen”The office also serves us as a laboratory in that we can [use it to] test new qualities, materials and construction methods,” project manager Liz Theißen told Dezeen.

      A solid wooden frame was used to create simple kitchen cabinets, which were constructed without glue so that the structure is fully demountable.
      Joinery was created without glue in much of the projectThe frame was fitted with panels formed from recycled strips of fabric supplied by textile brand Kvadrat from its Really collection.
      For its walls, the studio used Honext wall cladding – a cellulose-based material that is produced using paper sludge and cardboard waste.

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      Poplar wood from a tree felled in the nearby city of Krefeld was chosen for the ceiling, which was also assembled without glue.
      Throughout the office, neutral and minimal colour and material palettes were applied to the interior design, which also includes clusters of carefully arranged potted plants and books.
      Second-hand lighting encased in wiggly orange felt from Hey-Sign adds a splash of colour to the otherwise sandy-hued atmosphere.
      Wiggly orange lighting adds a splash of colourTheißen explained that all of the components that Urselmann Interior used for the renovation have been listed in a published “material passport” that can be referred to for future projects.
      “We want to develop a new design language for ourselves, in which we smartly combine high-quality materials such as solid wood with ecological building materials as well as reusable components [to achieve] a positive footprint in the construction industry,” she concluded.
      Honext panels line the clay paint wallsUrselmann Interior is a Düsseldorf-based interiors studio founded by Sven Urselmann.
      Similar projects to the studio’s office renovation include a Madrid restaurant by Lucas Muñoz with furniture formed from site construction waste and a bar made out of recycled stereos, bottle crates and fridges by Michael Marriott.
      The photography is by Magdalena Gruber. 
      Project credits:
      Design and build: Urselmann InteriorFounder and designer: Sven UrselmannDesigner: Petra JablonickáProject manager: Liz Theißen

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      Bethany Williams: Alternative Systems opens at the Design Museum

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      An exhibition highlighting London-based designer Bethany Williams’ waste-combating, social-driven vision for the fashion industry has opened at the Design Museum.

      Exhibited in the atrium of London’s Design Museum, Bethany Williams: Alternative Systems is a celebration of Williams’ work which explores and responds to social issues through the use of community-led enrichment initiatives.
      Bethany Williams: Alternative Systems is a free display in the atrium of the Design MuseumA number of key works by the designer were exhibited across the four walls of the atrium’s balcony gallery, which is free to entry.
      Mannequins are displayed among textiles samples, photography and raw waste materials in efforts to highlight the studio’s commitment to sustainable fashion.
      The display was chosen to be shown in a free entry space in the museum”I decided to organise the display thematically rather than by collection,” said Design Museum’s head of curatorial and interpretation Priya Khanchandani.

      “It opens with a section about the studio specifically and then there’s a part about creative process, intellectual references and the way in which they propose alternative infrastructures of working, followed by a section about reuse and another about community collaborations,” she told Dezeen.
      “Bethany’s work not only tackles the question of the environmental impact of design, but it also has an amazing social purpose.”
      The exhibition design was completed by EditWilliams is a fashion designer, humanitarian and artist. She graduated from Brighton University with a degree in Critical Fine Art before receiving a master’s from the London College of Fashion in Menswear.
      She launched her namesake brand in 2017 and has strived to spotlight and respond to social and environmental issues, her works see her partnering with local grassroots programs and manufacturing collections using waste materials.
      Garments are exhibited alongside research, drawings and materialsA section of the display exhibits Willliams’ work as part of the Emergency Designer Network. The initiative is a collaboration between herself and designers Phoebe English, Cozette McCreery and Holly Fulton.
      The group of creatives, with their textile manufacturing knowledge and teams of volunteers, produced 12,000 scrubs, 100,000 masks and 4,000 gowns for frontline healthcare workers during the peak of the coronavirus pandemic.

      Waste crisis a “design-made mess” says Design Museum show curator

      Waste from packaging tape sourced from Rimini, Italy was handwoven and constructed into functional items and garments as part of Williams’s Autumn Winter 2018 collection, which was on display.
      “I felt it was very important to show not just the finished garments, which you would see in a retail fashion context; being a museum display I wanted to add other layers of information,” explained Khanchandani.
      Williams’ work merges streetwear and craft”There are process materials like drawings and sketches, and also source material,” said Khanchandani. “For instance, a jacket made of waste newspaper is shown alongside some of the waste material, the Liverpool Echo, which is dangling next to the garment.”
      “You’re able to see the journey of the objects from inception, to finished product.”
      Williams has collaborated with San Patrignano, a drug and alcohol rehabilitation programmeEach season, the fashion studio collaborates with different local charities and grassroots programs and donates a percentage of its profits to its causes.
      “With our work, we hope to continue to reach new audiences, encourage inclusivity and positive change for the fashion industry,” said Williams. “The Design Museum continues to be aligned with this via the exhibitions curated, including their Waste Age exhibition, which we featured in last year.”
      “We are so proud to showcase our new exhibition: Bethany Williams: Alternative Systems, a celebration of the new way of working proposed for the fashion industry by the studio’s work.”
      Dresses and corsetry feature boning constructed from waste materialsThe opening of Bethany Williams: Alternative Systems was timed to coincide with Williams’ Autumn Winter 2022 collection, titled The Hands that Heal Us, which was presented at the museum.
      The collection included a cactus leather jacket, and garments made from recycled and organic-based denim with detachable metal hardware that aid the recycling process at the end of its life.
      A skeleton suit was informed by a 19th-century children’s playsuitIn 2016, Williams graduated from London College of Fashion and showed her MA graduate collection in the university’s show as part of London Fashion Week.
      Last year’s Waste Age exhibition at the Design Museum, which featured Williams’ work, explored how design has contributed to the increasing throwaway culture and how people can create an alternative circular economy that doesn’t exploit the planet.
      Photography is by Felix Speller.
      Bethany Williams: Alternative Systems is on display at the Design Museum from 22 February 2022. See Dezeen Events Guide for all the latest architecture and design events taking place around the world.

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