Hasta La Ideas

More than 50 emerging designers from Indonesia, Malaysia, the Philippines, Singapore, Thailand and Vietnam have showcased furniture and products at the Emerge exhibition at Singapore Design Week.

On display as part of the FIND design fair at Singapore’s Marina Bay Sands & Expo and Convention Centre, Emerge was curated by Design Anthology founder Suzy Annetta.

This year, which marks the third edition of Emerge, designers were invited to create pieces under the theme These Precious Things. Many focused on reusing existing materials.

Interior designer Georgina Foo, who together with architectural designer Genevieve Ang runs design studio Gin&G, showed side tables made from rice husks and a chair and light made partly from eggshells.

“We are a spatial design studio, and we also do object and furniture design,” Foo told Dezeen. “One really key belief for our studio is that we’re very focused on sustainability.

“We experiment a lot with materials and in particular alternative materials that might be able to help us and the people we design for live a bit more consciously,” she continued.

Foo and Ang used materials from its client, who runs a biomaterial company, to create its Emerge furniture pieces.

“The idea for the design of this was to minimise the waste and be very efficient with the material,” Foo added.

Other pieces using waste materials at Emerge included Indonesian designer Handhyanto Hardian‘s Cumulo side table made from construction waste and post-consumer waste, and Philippine designer Edward Sibunga’s Nesting table made from wood and post-industrial waste.

To create its terrazzo-like look, Sibunga used wood chips and other scrap material.

“Sibunga has a wood workshop in Manila where he makes a lot of pieces, and the terrazzo tops of these tables are actually wood and sawdust scraps from his own practice,” Annetta said.

“He’s cleaned up the floor of his workshop and kept all of that waste material and put it into a resin to create the surface of the tables here.”

When curating the annual exhibition, which also features pieces from recent graduates, Annetta looked for designers who could not only create something in time for FIND but who also related to the theme of the exhibition.

While material reuse was a red thread throughout the exhibition, what materials designers used was also partly down to regional availability.

“For example, Indonesians tend to regularly work with rattan because it’s very readily available, it’s from Indonesia and obviously they’re quite proud of their natural resources,” Annetta told Dezeen.

“It’s something that they’re curious to explore and experiment with because it’s relatively new – up until, I think last century, rattan was purely exported, they weren’t working with it; 1970s and mid-century rattan furniture were almost always made in Italy,” she added.

Among the Indonesian designers showing at Emerge was Alvin Tjitrowirjo, who showed his rattan and wicker wood shelf designed with Angela Mayrina.

“This piece is called Jiwa, which translates to soul and spirit in Indonesia, ” Tjitrowirjo said. “We wanted to respond to this year’s brief of value by promoting the spiritual side of value that has long been very closely intertwined with craft.”

“The piece is inspired by altars that you can easily find in Chinese homes, where they act more like a portal or a medium to connect between us humans on the earth and to beyond,” he added.

“So looking at today’s challenges with environmental destructions, how people are being very disconnected with nature or even with other people itself, maybe this can serve as a response; maybe we can have a better connection with nature.”

Singaporean designers, meanwhile, tend to be more experimental, Annetta said.

“Singaporeans, I think have the benefit of not really having any of those hang-ups – it’s, I guess, technology, but also not being tied to any particular culture or tradition, I suppose, because it is so multicultural and a relatively young country to some degree,” she said.

“So I think they probably tend to be more broad and experimental,” she added.

Singaporean designer Emeline Ong also worked with material reuse for her Pastille Collection, which was longlisted for a Dezeen Award this year.

Ong created the collection, comprised of three pastel-hued tables, from a paper-pulp mixture after setting herself the restriction of creating everything from home.

“I just wanted to be closer to the making process,” she told Dezeen.

“I used a lot of household and common materials to create these pieces, even the paper – it was all from my brother’s recycled schoolbooks at home,” she added. “I made them using a dehydrator, a blender and a shredder.”

Other innovative products on show at Emerge included Philippine designer Jasser Aguila‘s playful Iba-Iba table lamps, which look like small individual characters, and Thai artist Apiwat Chitapanya‘s Arowana bench, designed to look like a dragon fish.

To Annetta, the designs on show at Emerge represent just a small fraction of the talent to be found in the region.

“It’s just the tip of the iceberg,” she said. “There’s a lot going on; the show is probably a long time coming, and I think really shows what’s been happening.”

Emerge also gives a platform to designers who may have previously shown in Europe, but are finding that harder because of increasing costs.

“There’s incredible creativity, collaborations, manufacturing, experimentation, but there’s just not enough platforms like this or opportunities for them to show their work,” Annetta said.

“I guess they all would have traditionally aspired to be in Milan, but as we know, it’s getting bigger and bigger and busier and more expensive, and designers from anywhere in the world are finding it hard to cut through the noise,” she added.

“It’s really great for us to be able to provide opportunities to people in this part of the world, where they can partner with local buyers and local makers, and for them to meet their peers and talk about some of the challenges that they’re facing.”

The photography is courtesy of Design Anthology.

Singapore Design Week takes place from 26 September to 6 October 2024. Dezeen is a media partner of Singapore Design Week. See Dezeen Events Guide for an up-to-date list of architecture and design events taking place around the world.

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Dezeen Showroom: Portuguese furniture brand Greenapple sought to evoke the Algarve coast with the Bordeira coffee table, designed by co-founder Rute Martins.

The organic form of the Bordeira coffee table was informed by the pristine beach in southern Portugal from which it takes its name.

“Heading south from the villages of Comporta and Melides, you encounter one of the last untouched areas of the Atlantic Coast, where time seems to stand still, and natural beauty prevails,” said Greenapple.

“This immaculate landscape is the inspiration behind the Bordeira coffee table, whose sweeping curves reflect ocean meeting the land in perfect harmony, creating a modern piece that conveys true freedom of movement.”

Like all Greenapple products, the table is fully customisable in size and finish, with each piece handmade by artisans in the brand’s workshop just outside Lisbon.

The typical version has legs and a table base made from oak, with brass and onyx on the tabletop.

No glue or welding is used in the table’s assembly, meaning the components can be easily taken apart for recycling at the end of its life.

Product details:

Product: Bordeira coffee table
Designer: Rute Martins
Brand: Greenapple
Contact: sergio.rebola@greenapple.pt

Material: oak, onyx and brass as standard
Dimensions: 1000 x 1110 x 300 millimetres as standard

Dezeen Showroom

Dezeen Showroom offers an affordable space for brands to launch new products and showcase their designers and projects to Dezeen’s huge global audience. For more details email showroom@dezeen.com.

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US researchers working with SHoP Architects have created a potential alternative to steel and concrete as a structural floor material: recyclable panels made entirely from bioplastic and wood flour.

The prefabricated panel was made using 3D printing by researchers at the US Department of Energy’s Oak Ridge National Laboratory (ORNL) and the University of Maine (UMaine) – both part of the SM2ART public-private partership.

According to the team, the SM2ART Nfloor cassette panel is better for the environment and quicker to manufacture than similar steel-and-concrete elements, which are typically used in multi-storey buildings.

The researchers began work on the cassette following a prompt from SHoP Architects to explore the potential of bio-based materials and additive manufacturing for mass-produced floor panels.

“We saw the precedent in the aerospace industry, where they introduce new technologies within small parts and expand outward to the whole,” SHoP principal John Cerone told Dezeen.

“We applied that principle by isolating a building system product — a light-gauge steel floor cassette assembly — from an existing supply-chain partner to benchmark its replacement with a single solid-state, printed, bio-based part.”

Strength from combining materials

ORNL and UMaine made the panels using polylatic acid (PLA), a bioplastic derived from corn residue, which they mixed with wood flour made from lumber processing waste.

According to ORNL researcher Katie Copenhaver, the floor panel’s strength comes from the combination of these two materials as well as its geometric shape, which distributes load to its outer edges, where it would rest within a building’s steel framework.

“Adding wood flour to the PLA increases its stiffness significantly,” said Copenhaver, with stiffness being key to the overall performance.

“What we can’t achieve with material properties alone, we can account for with structural design,” she continued. “A flat plate of steel may suffice for something and couldn’t be replaced with the same geometry of PLA, but a PLA piece could potentially be designed that could also do the job.”

According to the team’s testing, the cassette has the same strength as a typical steel-concrete floor fabrication, and they also say it is biodegradable and nicer to walk on.

Its single-piece monomaterial construction is also important. Unlike a conventional steel floor cassette, which Copenhaver said is made from 31 parts and three materials, this is quicker to make and easier to recycle.

Looking at 3D printing “in terms of performance”

The channels for wiring, plumbing and ductwork can be printed during the manufacturing process, removing the need to cut those out after assembly is completed, and so saving time and money.

The cassette took about 30 hours to print and is estimated to cut down on labour by about 33 per cent.

“When people think of 3D printing, they are usually thinking of form, or in terms of an aesthetic or formal gesture,” said Cerone. “Here, we are thinking of it in terms of performance.”

“Beyond the carbon reduction inherent in bio-based materials, leveraging additive manufacturing allowed efficient placement of structural material while integrating routes for mechanical, electrical and plumbing systems.”

While the cassette is still in the early stages of development, both the researchers and SHoP Architects believe it holds significant promise for advancing the use of organic materials in construction, particularly for modular multiresidential buildings.

The PLA and wood flour blend could be used for producing many kinds of large-format additively manufactured parts.

“What’s really exciting about this advancement is that it is industrialising a process itself, which will be applicable across all typologies and scales in the future, creating more efficient and performance-driven possibilities in everyday construction,” said SHoP founding principal Christopher Sharples.

The researchers are now working to refine the design to reduce print time and material usage, and to explore additional functionality.

SHoP Architects is based in New York City and best known for its projects in that region. These include the super-skinny Steinway Tower as well as the Brooklyn Tower – the tallest building in Brooklyn.

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The Braun Prize, first introduced in 1968, is an internationally renowned design competition that celebrates the power of innovation and craftsmanship in industrial design. Braun, the German design powerhouse behind the prize, has long been synonymous with iconic, minimalist, sensible design. Known for its clean lines, functional aesthetics, and products that marry form with function, Braun has shaped the landscape of product design for decades. Its influence is deeply rooted in the design world, inspiring generations of designers to prioritize simplicity, utility, and timelessness. With a rich legacy in creating everything from shavers to radios, Braun’s dedication to design excellence extends to the Braun Prize, which has become a benchmark for recognizing creative talent across the globe.

A key element that underscores the significance of the Braun Prize is its distinguished jury, which has, in the past, included design legends like Dieter Rams, Braun’s former Head of Design. Rams, one of the most influential figures in modern design, chaired the competition for several years, bringing his renowned “less, but better” philosophy to the forefront. Other notable figures, such as Peter Schneider and Dr. Fritz Eichler, have also shaped the competition with their expertise. This tradition continues in 2024 under the leadership of Prof. Oliver Grabes, Braun’s current Head of Design, ensuring the competition maintains its high standards of evaluating innovative ideas that fuse practicality with creativity.

For the 2024 edition, under the theme “Ideas to Keep,” Braun invites designers and inventors to participate by submitting projects that highlight both timeless design principles and forward-thinking solutions. Open to students and young professionals globally and held once every 2-3 years, participants have the chance to showcase their work on an international stage and compete for a prize pool totaling $50,000 USD. Designers can submit their entries via the Braun Prize platform, or if you’re looking for inspiration, scroll down to take a look at some Braun Prize winners from the previous edition.

Click Here to Submit Now. Deadline: 14th October 2024.

Braun Prize 2021 Winners

Drilling Targeting Systems (DTS) by Mehmet Mehmetalioglu (Student)

Mehmet Mehmetalioglu’s Drilling Targeting Systems (DTS) is setting a new standard in aerospace assembly. With the surge in aircraft production, DTS provides a much-needed solution for the intricate task of joining fuselage and ribs, enhancing workflows and reducing the need for highly skilled labor. The system employs ultrasonic technology in its modular target unit to accurately locate drilling points, while the drilling unit performs the task with precision, ensuring the surface remains undamaged. This innovation not only minimizes human error but also improves safety in aircraft manufacturing. Juror Stefan Schamberg commends the DTS for its intelligent design, top-notch prototyping, and its potential to elevate industry standards, underscoring Mehmetalioglu’s dedication to meticulous craftsmanship and forward-thinking solutions.

PAPILIO Wind Powered Street Light by Tobias Trübenbacher (Student)

Tobias Trübenbacher’s innovative street light, PAPILIO, addresses the escalating issue of light pollution and energy consumption. As our cities grow taller and windier, so do the environmental challenges we face, including the 6% annual increase in artificial light worldwide. PAPILIO tackles these problems head-on with a Savonius wind rotor that generates its own electricity, significantly reducing CO2 emissions from public lighting. Designed to be both eco-friendly and effective, PAPILIO features a full-cut-off light that directs illumination downward, significantly decreasing its impact on insects and the environment. An infrared sensor ensures the light activates only when necessary, further minimizing unnecessary illumination. Juror Johanna Schoemaker admires the balanced design, highlighting the way the wind turbines’ graceful movement adds an aesthetic element reminiscent of a simple paper windmill. PAPILIO not only offers a functional solution but also enriches public spaces both day and night, making energy generation an elegant spectacle.

RUEI-01 Robotically Recyclable Shoe by Maxwell Ashford (Student)

Maxwell Ashford’s RUEI-01 presents an innovative approach to shoe recycling, solving a challenging problem with precision and creativity. Unlike traditional recycling methods that struggle with mixed materials, RUEI-01 is a multi-material shoe designed for robotic disassembly. By embedding digital information directly into the shoe—including robotic g.code instructions and detailed material data—robots can separate and recycle each component accurately. This method ensures the production of high-quality recycled materials that can compete with new ones, significantly reducing waste and environmental impact from material extraction and production. Juror Sukwoo Lee praises the project’s forward-thinking solution and its practical execution, highlighting the impressive use of seam structures for robotic recycling and the robust presentation of research and prototypes. RUEI-01 exemplifies how contemporary tools and thoughtful design can revolutionize recycling practices, maintaining the durability and functionality of multi-material shoes while addressing pressing environmental concerns.

CANNE Self-directed CPR Learning Experience by Shuai Li (Student)

Shuai Li’s CANNE redefines CPR training with a self-directed, cost-effective solution tailored for developing countries. With more than 550,000 sudden cardiac deaths annually in China and a dismal less-than-1% out-of-hospital survival rate, CANNE addresses the urgent need for accessible and engaging CPR training. This innovative kit, made from corrugated cardboard, allows individuals to practice CPR independently using a smartphone app that leverages AR technology. The app offers real-time feedback through the phone’s camera and microphone, guiding users in identifying cardiac arrest, performing chest compressions, and proper ventilation. By making CPR training affordable, portable, and user-friendly, CANNE breaks down barriers related to cost, availability of qualified instructors, and motivation. Juror Li Ning Ning commends CANNE for its ingenious combination of common materials and sensor technology, highlighting its potential to boost CPR course participation and save lives. CANNE’s practical approach could significantly enhance public health by increasing out-of-hospital cardiac arrest survival rates, particularly in regions where traditional CPR training is challenging to access.

LIDfree Origami Cup by Chia Chun Chuang and Pei Chun Hsueh (Young Creatives)

LIDfree, the ingenious creation by Chia Chun Chuang and Pei Chun Hsueh, tackles the escalating plastic waste problem exacerbated by the pandemic. In a world where plastic lid usage is rampant, LIDfree offers a sustainable alternative by merging the cup and lid into one cohesive unit using the art of origami. This revolutionary design features a hexagonal folding rim that collapses inward, eliminating the need for a separate plastic lid. Users can open and close the cup quickly, prevent spills, and enjoy the convenience of an eco-friendly design that accommodates straws of any width. By maintaining the familiar feel of a typical takeaway cup, LIDfree enhances user experience while encouraging eco-friendly habits. Made from a single type of paper, it simplifies the recycling process, allowing easy separation and flattening without mess. Juror applause highlights its stackability, ease of use, and clever incorporation of functionalities—traits that embody simplicity, elegance, and practical ingenuity. LIDfree proves that sustainable design can seamlessly integrate into daily life, supporting environmental protection effortlessly even during challenging times.

MonkeyBots IoT Robots by Georg Kloeck and Mohammad Moradi

MonkeyBots, created by Georg Kloeck and Mohammad Moradi, revolutionizes the way we interact with digital notifications by transforming them into physical actions. These small IoT robots help liberate us from constant screen time by performing tangible tasks like clicking switches, rattling pill containers, or striking a gong to remind us of important activities. Designed to be secure and unobtrusive, MonkeyBots connect to your phone via Bluetooth-Low-Energy without microphones or cameras, ensuring privacy. They feature sustainably 3D printed add-ons that can grip, push, hit, or click almost anything, making them versatile tools for everyday routines. The design, compatible with LEGO and available in organic PLA or recycled PET, seamlessly blends into various environments. The jury applauded MonkeyBots for their ability to bring digital notifications into the physical world in a playful and creative way, offering endless possibilities without compromising user privacy.

Click Here to Submit Now. Deadline: 14th October 2024.

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The LEGO Technic 8810 Café Racer traces its roots back to the early 90s when it was first released. The 80-piece set was a childhood buddy for kids of all ages and even adults into LEGO brick building on leisurely weekends. Also known as the Technic Alpha Racer, the model gains an average 3% yearly rise in value.

Going by its collectible worth, the LEGO café racer is a valid inspiration for animatronics creator Matt Denton who has developed a rideable LEGO Technic 8810 café racer made from 3D printed parts to preserve the attachable and detachable essence of the LEGO brick influence. Each of the individual parts is created from PolyLite and polycarbonate materials to emulate the snappable plastic blocks.

Designer: Matt Denton

Matt is known for his creations culminating from exposure to the engineering and design domain. The Star Wars BB-8 is one of them. Now the 33-year-old crafter has brought the LEGO café racer into a functional electric bike which is a monkey bike in its DNA. The two-wheeler can take the weight of an adult and like all monkey bikes is a handful when it comes to steering in tight spaces at low speeds. The specialist in Animatronics Control Systems had a different kind of challenge at hand in building this ride. So, he decided to use an e-bike kit that had a motor controller, screen, disc brakes, tires, and brake levers. Putting together the custom-built parts that resemble a LEGO brick and the kit’s components required more than a snap of two individual parts since the thing produced vibrations from the movement and engine noise.

To maintain visual aesthetics, Matt only used parts from the kit that were needed without breaking the LEGO-themed look. The 3D-printed handlebar and the position of the front wheel is determined to then move on to the headlights section. Then only he went on to finalize the frame and thereafter the foot pegs, suspension, axle and wiring were done. The final components on this LEGO monkey bike were the forks, seat, battery, water bottle and a bottle holder frame.

The only thing he then tests is the rideability and the ability to reverse. After making the final adjustments to the power, steering and brake balance, the LEGO Technic café racer is ready for the streets.

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