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French design students Hugo Maupetit and Vivian Fischer have developed a method for collecting discarded chewing gum and turning it into colourful, recycled plastic skateboard wheels.

The students installed special collection boards in urban areas of Nantes, France, where passersby could stick their used gum rather than dropping it on the floor.

The gum was then collected every week before the gum was ground together with the collection board itself, which is made from polymethyl methacrylate (PMMA) plastic.

The PMMA helps to stabilise the chewing gum as it is melted together and machined into wheels.

"During our test phases we needed between 10 and 30 chewing gums per wheel, depending on the size of the gum and the desired hardness of the wheel," Maupetit told Dezeen.

Chewing gum, which has existed since antiquity, was originally made from the sap of different trees. But most modern gum consists of a synthetic rubber called polyisobutylene that is also used to create car tyres.

It is estimated that as little as 10 per cent of this gum is disposed of correctly, which means that in the UK alone, local councils have to spend £60 million a year cleaning up the other 90 per cent.

Rather than having this plastic go to waste, Maupetit and Fischer hoped to give it a second life as skateboard wheels, with a trial project in the city of Nantes, where the two are studying at the L'École de design Nantes Atlantique.

"We collected more than 60 chewing gums with one board," said Maupetit.

"So it is possible to collect several thousand pieces of chewing gum each month but as we didn't get permission from the city of Nantes to install our collection boards on a massive scale, we couldn't test this."

Sachi Tungare forms swirly vessels from discarded cigarette butts

The gum is mixed with a binder and natural dyes before being injection-moulded to create the final skateboard wheel, which comes in four sizes and three different hardness levels.

Once it is worn out, the chewing gum wheel can once again be ground up and melted to create a new wheel, forming a closed-loop system.

Although currently only tested on a small scale, the students imagine that the system would work best as a collaboration between major brands such as skatewear label Vans and Mentos parent company Perfetti Van Melle, which is one of the world's largest manufacturers of confectionery and chewing gum.

"It's extremely important for brands to get involved in this kind of issue, simply because multinationals are the biggest producers of industrial waste," Maupetit explained.

"By recycling this waste, it becomes a virtuous circle, with the company losing less material and making money from what was originally waste."

More and more designers are looking to give commonly littered plastic items a new lease on life, from Haneul Kim creating stackable stools from discarded coronavirus masks to Sachi Tungare collecting five kilograms of cigarette butts by hand to create a range of multi-coloured bowls and vases.

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Students create system for collecting and recycling chewing gum into skateboard wheels

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French design students Hugo Maupetit and Vivian Fischer have developed a method for collecting discarded chewing gum and turning it into colourful, recycled plastic skateboard wheels. The students installed special collection boards in urban areas of Nantes, France, where passersby could stick their used gum rather than dropping it on the floor.

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Natural Material Studio develops Shellware ceramics from leftover seashells from Noma

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Designer Bonnie Hvillum’s Natural Material Studio has created Shellware, a conceptual ceramic produced from clay made out of powdered seashells from Denmark’s Noma restaurant.

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Yasmin Bawa wants to tell you about hemp. That it's the strongest natural fiber in the world. That it's flame retardant. That it has been used, for years, by the German auto industry in lieu of fiberglass to make car bodies. That it needs a fraction of the water to grow compared to cotton, that it doesn't require harsh pesticides, and that it helps to filter contaminants from the soil where it's planted. That it doesn't make any sense that more designers and builders haven't adopted this historically ignored wonder material. That it is still, somehow, illegal in Japan. That it has nothing to do with weed.

When she's not proselytizing the benefits of building with hemp, Bawa is taking up real estate on your Instagram Explore page. Since debuting her twisting, monolithic plant pots and furniture two years ago, she has partnered with the Soho House and designed window installations as far away as Australia. To mold by hand her instantly recognizable, multi-faceted, ultra-colorful shapes, she works with Hempcrete, a sustainable mix of hemp fibers, lime, and plaster that's light-as-a-feather but with the sculptural flexibility of clay. An otherwise industrial bio-composite material generally used in sustainable home building, scaled down to the realm of object design.

When we visit her in her sunny Kreuzberg workshop in Berlin this summer, she greets us with a plate of flaky pastries and hot coffee from the bustling Market Hall just across the street. Her space is sparse and airy and opens up onto a small plant-filled courtyard scorched by the midsummer sun. At the moment, it's scattered with pieces in varying stages of completion, as if a grand Victorian sculpture hall had been reimagined as a concrete-floored industrial loft.

As we settle in to chat about her practice and see her process in action, she mentions that she's just chopped off her thick brown curls into a Mia Farrow-like crop - a tactical move for a three-month-long residency in Japan she's embarking on in a few days. Set in the countryside beyond Tokyo, she plans on learning about traditional craft and exploring new materials, like the construction potential of seaweed. "I might research building with seaweed as a waste material," she tells us, clutching her work-stained collection of spackling tools like a bouquet of daisies. "In Japan, there is a 1000-year-old tradition of plastering with lime, hemp fiber, and seaweed glue. But it smells terrible, the entire studio turns into a fish market." But for now, likely to the relief of her studio-mate, she's still firmly on team hemp.

In a previous life, Bawa - who grew up between California and Edinburgh and studied textile design in London - worked as an accessories designer dreaming up footwear at Acne Studios in Stockholm. After three years, she eventually decamped to Berlin when she realized the relentless pace of the fashion world would never suit her measured, careful approach. When she originally pivoted to object design, her material of choice was concrete, but its toxicity turned her off: "toxicity for myself," she explains, sifting through a pile of coarse hemp fibers in her studio's industrial sink, "but also for the environment." In search of a sustainable solution, Bawa turned to the internet to find an alternative with less of an environmental cost. There, she stumbled upon a community of Hempcrete builders and her mind was, admittedly, blown.

"I had seen natural building methods, but never this," Bawa describes wide-eyed of the material revelation, "I was like: This is it. It was a light bulb. I was researching it and I couldn't stop talking about it. Even though I hadn't touched hemp or seen it, I knew it would work. I even had a friend's 30th birthday party where I got drunk and was telling everybody how I'm going to make all of my stuff out of hemp. And then I woke up the next morning going: oh my God, I have to do this now. Like, I have to do this now."

Spurred on by her bleary-eyed pronouncements and a deeply felt instinct about the material's potential for her practice, Bawa beelined straight to a local hemp farm to pick up supplies. She then proceeded to acquire her Hempcrete-building knowledge the way most of us who came of age online gather new skills: Youtube. "I learned everything I know on Youtube," she explains matter-of-factly. For the first few months she, "experimented like crazy," working on prototypes on her bedroom floor before settling on her current Hempcrete "recipe."

That recipe involves mixing hemp fibers - which resemble the kind of coarsely shredded mulch used to line the bottom of a rabbit's cage - with lime, plaster and a bit of water, resulting in a thick, gritty paste. From there, she forms each piece by hand, pausing with each layer to let it air dry. "Because of the drying time you're always seeing the piece from different angles, so you can search from all sides where you want to develop the shape," she describes of the time-consuming process, which can take up to a month to finish depending on the weather. "I work really intuitively," she continues, "the process dictates the shape."

Once built and completely dry Bawa coats the surface with a finer paste, often mixed with the natural colorants that give her work its telltale muted vibrant tones. This is where the real elbow grease comes in: She then painstakingly waterproofs each piece using the Moroccan building technique of Tadelakt - a traditional plastering system that dates back thousands of years - which requires her to coat the surface with olive soap and polish it in its entirety with a flat-faced stone. Hers was found in a riverbed close to where she grew up in California, preferring it to the professional versions you can buy online. "I always pick up stones, but I never have anything to do with them," she jokes, weighing her favorite tool, a small brown-toned disc, in the palm of her hand, "but I was finally able to use that random pile of stones I brought back."

To construct larger pieces with a bit more speed, she uses pre-made Hempcrete bricks typically employed to build habitable structures. For an upcoming collaboration with London-based dellostudio to design and build the entranceway and cafe for next year's Collectible fair in Brussels, she struck up a deal with a local producer who agreed to provide misshapen waste bricks that would otherwise be binned or scrapped. This aligned with Bawa's vision to keep the temporary project as sustainable as possible: Once used, Hempcrete can be shredded and incorporated into future batches.

At the moment, she's content working on commissions and selling one-off pieces through Instagram, but looking forward, she has larger-scale plans. "I want to build a house," she says of the future, "that's my ultimate goal."

And, once she's finished telling the world about Hemp's limitless uses, she hopes you will too.
PHOTOS BY PASCAL ROHÉ

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This Former Acne Accessories Designer Wants to Change the World, One Hemp Vessel At a Time - Sight Unseen

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Yasmin Bawa wants to tell you about hemp. That it's the strongest natural fiber in the world. That it's flame retardant. That it has been used, for years, by the German auto industry in lieu of fiberglass to make car bodies.

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Ceramic Tap Water Carafe by Lotte de Raadt.

"Dutch tap water is top quality drinking water, and it is 2000 times cheaper than bottled water. And more importantly, it does not require any polluting plastic bottles or transport. With her traditionally crafted Tap Water Carafe Lotte de Raadt intends to promote the consumption of tap water.

The shape of the carafes betrays the origins of the water. The tall bottle with the long neck refers to water from deep underground; the low, stout bottle is the ideal shape for collecting surface water; the third can be filled with dune water. The stopper clearly displays the place where the contents were drawn: from the tap, naturally!"

Text and images via Lotte de Raadt

Dutch Design Blog

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TAP WATER CARAFE BY LOTTE DE RAADT | Dutch Design Blog

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Ceramic Tap Water Carafe by Lotte de Raadt. "Dutch tap water is top quality drinking water, and it is 2000 times cheaper than bottled water. And more importantly, it does not require any polluting plastic bottles or transport. With her traditionally crafted Tap Water Carafe Lotte de Raadt intends to promote the consumption of tap...

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We just put a new spin on backpacks. Read about the FREITAG x BROMPTON collaboration.

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Max Lamb (born 1980) is a British furniture designer who combines traditional, often primitive, design methods with digital design. He is known for employing unusual approaches to using natural materials, including pouring pewter onto sand, and volcanic rock.

His studio is based in North London.

Lamb was born in Cornwall in 1980. He attended Amersham & Wycombe College for art and design in 2000 where he received several awards. He also received a City and Guilds Photography Certificate in 2000.

He later attended Northumbria University, receiving a degree in three dimensional design in 2003. In 2006, he received his master's degree in design products from the Royal College of Art. After graduation, his professor, industrial designer Tom Dixon, hired him as a special projects designer.

Lamb started his own design firm in 2007. He has taught at Industrial Design at École cantonale d'art de Lausanne in Switzerland since 2008 and at the Royal College of Art.

Lamb is married to jewelry designer Gemma Holt.

Lamb works with a diverse range of materials including but not limited to stone, wood, metal, plastic, as well as "Marmoreal", a terrazzo-like composite material that he himself invented. He is known for his innovative approach and use of natural materials within his designs. An example of this experimentation is his triangular pewter stool, which he created by digging the form of the stool into the sand and pouring liquid pewter into the sand form. He has also made a pewter stool that combines hexagonal shapes. Another example of natural elements used in his art work is his nano-crystalline copper dishware collection.

Lamb often uses traditional techniques to achieve innovative contemporary solutions. His Urushi Series is a collection of seating, tables and cabinets finished with Urushi lacquer from Wajima, Ishikawa, Japan. The structure of each piece is obtained by cleaving chestnut with green-woodworking techniques in order to preserve the natural appearance of the wood. Urushi lacquer is then applied following traditional Japanese methods.

Lamb's respect for natural materials, specifically wood, is evident in the project 'My Grandfather's Tree by Max Lamb'. Shown for the first time at Somerset House (London, UK) in 2015, the project was a compilation of 131 logs installed and arranged in the same order the tree was meticulously cut. Originally the work formed a 187 years old Ash tree from Monckton Walk Farm (Yorkshire) . As the tree started getting rotten, the designer decided to give it a new history; this resulted in a collection of 'general purpose' logs that respect the tree's life by revealing its growth rings, knots, branches and crotches.

The designer's extensive practice was epitomized in an exhibition entitled "Exercises in Seating" (2015) where he arranged in a circle 40 uniquely designed chairs that he made using various materials and techniques spanning the course of nearly ten years; the exhibition was held in Milan, Italy, during the Milan Design Week.

2019

2018

2017

Boulders by Max Lamb - New York, New York, Salo 94 Design

Solid Textile Board benches by Max Lamb for Really and Kvadrat - Salone del Mobile, Milan, Italy

2016

2015

My Grandfather's Tree by Max Lamb - Presented by Gallery FUMI, Somerset House, London, UK

Ayan Farah, Max Lamb, & Chris Succo - Almine Rech Gallery, London, UK

Echo - Exhibition -The Gallery at Plymouth College of Art, Plymouth, UK

Marmoreal, Design Miami/Basel - Dzek, Basel, Switzerland

Exercises in Seating - Milan, Italy

2014

2012

Making Ideas: Experiments in Design, GlassLab, The Corning Museum of Glass, New York, US

Mark-ing, British Council, Japan Design Week, Tokyo, Japan

Rocky Crockery for 1882 Ltd, London Design Festival, London, UK

RAW CRAFT, Fine Thinking In Contemporary Furniture, touring Exhibition by Crafts Council - Collect 2012, London, UK

2011

Studioware - Gallery FUMI, London, UK

Superba - J.F. Chen, Los Angeles, US

Designs of the Year - Design Museum, London, UK

Deptford Design Market Challenge, Studio Raw, London Design Festival, London, UK

Prototypes & Experiments IV - The Aram Gallery, London, UK

2010

The New Domestic Landscape - Northern Gallery for Contemporary Art, UK

Commissioned - Milan Design Week, Milan, Italy

Objects with a Void - Workshop For Potential Design, London, UK

The Vermiculated Ashlar, HSBC Private Bank Design Collection Commission & London Design Festival - Victoria & Albert Museum, London, UK

2009

Corn Craft, Gallery FUMI, London, UK

Passionsweg Max Lamb, R. & L. Lobmeyer - Vienna Design Week, Austria

Tokyo Designers Week - Tokyo, Japan

2008

Beau Sauvage - Gallery Libby Sellers, London, England

Max Lamb Solo Show - Johnson Trading Gallery, New York, US

Materialism - Gallery FUMI, London, UK

Solids of Revolution - Design Miami/Basel, Basel, Switzerland

2007

Top Ten - British Council, Milan, Italy

Max & Hannah Lamb - Godolphin House, Cornwall, UK

Inspired by Cologne - Imm Colgne, Germany

Decompressions Chamber - Northern Gallery of Contemporary Art, Sunderland, UK

2006

Max Lamb & Robert Phillips - Canary Wharf, London, UK

Design Mart - Design Museum, London

Made by Machine - Milan Design Week, Italy

Made in Nigeria - Yaba College of Technology, Lagos, Nigeria.

The Greenhouse - Stockholm Furniture Fair, Sweden.

2005

The Shop - The Royal College of Art, London, UK

ISOS Collection - Furniture Works, London, UK

The Castle Keep - Newcastle upon Tyne, UK

2004

Work in Progress Show - The Royal College of Art, London, UK

Design UK Selection - Gainsborough Studios, London, UK

Made in Newcastle - Hamals Design Shop, Newcastle upon Tyne, UK

Pulse - Earls Court, London, UK

Design London - Superstudio 13, Milan Design Week, Milan, Italy

2003

New Designers, Urban Interiors - Commonwealth Institute, London, UK

Max Fraser's Design Pick of 2003 - Gainsborough Studios, London, UK

2000

Foundation Exhibition, Amersham & Wycombe College - Amersham, The Netherlands

2010 - HSBC Design Collection Commission

2009 - 'The Essence of the 21st Century' Courvoisier Award

2008 - 'Designer of the Future' - Design Miami/Basel

2004 - Hettich International Design Award

Centre National des Arts Plastiques, Paris, France - Urushi Stool

The Israel Museum, Jerusalem, Israel - Sheet Steel Chair

Design Museum - London, UK

Wolfsonian Museum - Miami, US

Cooper Hewitt, New York, US - Copper Series Chair, Pewter Stool, Scrap Poly Chair

Design Museum Gent, Belgium - Jigsaw (Richlite)

Books / Publications

My Grandfather's Tree (2015)

Exercises in Seating (2015)

China Granite Project II (2010)

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Max Lamb (born 1980) is a British furniture designer who combines traditional, often primitive, design methods with digital design. He is known for employing unusual approaches to using natural materials, including pouring pewter onto sand, and volcanic rock. His studio is based in North London. Lamb was born in Cornwall in 1980.

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Vitra | Wiggle Side Chair & Wiggle Stool | Official Vitra Website

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Frank Gehry | The architect Frank Gehry is known for his use of unusual materials. With his 1972 furniture series 'Easy Edges', he succeeded in bringing a new aesthetic dimension to such an everyday material as cardboard. Although surprisingly simple in appearance, the various pieces...

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Look at ‘Tap Water Carafe’ by Lotte de Raadt. This is a self-cooling carafe designed to encourage people to use tap water rather than disposable plastic bottles. It is made from unglazed terracotta with a ‘tap’ shaped stopper. The design is elegant (reminding me of your clay works) and also takes a sustainable approach.

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Tap water carafes - ceramics

Dutch tap water is top quality drinking water, and it is 2000 times cheaper than bottled water. And more importantly, it does not require any polluting plastic bottles or transport. With her traditionally crafted Tap Water Carafe Lotte de Raadt intends to promote the consumption of tap water.

The shape of the carafes betrays the origins of the water. The tall bottle with the long neck refers to water from deep underground; the low, stout bottle is the ideal shape for collecting surface water; the third can be filled with dune water. The stopper clearly displays the place where the contents were drawn: from the tap, naturally!

Details:
Product group: Water Carafe
Material: Ceramics
Price: €79,00

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Tap water carafes - ceramics Dutch tap water is top quality drinking water, and it is 2000 times cheaper than bottled water. And more importantly, it does not require any polluting plastic bottles or transport. With her traditionally crafted Tap Water Carafe Lotte de Raadt intends to promote the consumption of tap water.

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Jaime Derringer, Founder + Executive Editor of Design Milk, is a Jersey girl living in SoCal. She dreams about funky, artistic jewelry + having enough free time to enjoy some of her favorite things-running, reading, making music, and drawing.

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Jaime Derringer, Founder + Executive Editor of Design Milk, is a Jersey girl living in SoCal. She dreams about funky, artistic jewelry + having enough free time to enjoy some of her favorite things-running, reading, making music, and drawing.

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It is important to think about how this work can be applied to design products. Are you hoping to change behaviour? Or is this more of a artefact based product?

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Think about material language - what values do materials carry

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Think about material language - what values do materials carry

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Glenn Adamson is a curator, writer and historian based in Brooklyn, who works across the fields of design, craft and contemporary art.

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Climate talks at the Science Museum can be accessed online. May be of interested if you are looking at sustainability

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Yes, anyone who wishes to attend must book a free ticket as the link to the event will be sent via email.

Unlike booking tickets to the museum, you only need to book one ticket per device for the Climate Talks virtual events. If your household would like to watch on more than one device, please book more than one ticket using different email addresses and accounts.

The Climate Talks are recommended for ages 14 and older, except for the Future of Fuel event as part of Manchester Science Festival, which is recommended for ages 16 and older.

Yes, the Climate Talks will be best suited for Key Stages 3 and up. The talks will also be recorded and available afterwards for you to use in the classroom.

You do not need to book a museum admission ticket to attend an online event.

Questions can be submitted before each event as you book a ticket. A selection of audience questions will then be posed to the speakers.

If you can no longer come to an in-person event, please speak to our Contact Centre team on 033 0058 0058 to refund your in-person ticket. Unfortunately we aren't able to refund donations. If you can no longer attend a virtual event, please speak to our Contact Centre team who'll be able to return your tickets and give your place to someone else.

If an event is cancelled, rescheduled or postponed for any reason, we will notify you by email as soon as possible.

If an event is rescheduled or postponed, your booking will be automatically updated in your account. You can log in to your account to view your online event bookings at any time.

If an event is rescheduled and you can no longer attend, please call us on 033 0058 0058 (line open 09.00-17.00 daily) and our team will be able to return your tickets and give your place to someone else.

Unfortunately we are not able to refund donations.

If you have booked a free ticket, you will be emailed on the day of the event with the link to the virtual event, which will be hosted on our online booking system. You will need to log in to your account to watch the event, so make sure you keep your log in details safe. If you have questions, please speak to our Contact Centre team on 033 0058 0058.

We will be announcing more events in early 2021. You can sign up to our newsletter to receive updates first or keep an eye on social media.

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Climate Talks | Science and Industry Museum

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Throughout 2021 the Science Museum Group is hosting a series of Climate Talks-panel discussions, Q&As and events connecting you with leaders, experts, activists and campaigners as they discuss how to tackle the problems facing our communities due to climate change.

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It might be worth doing some research on where the pine resin is mainly sourced from as this could help direct the project and or application of the material 

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It might be worth doing some research on where the pine resin is mainly sourced from as this could help direct the project and or application of the material 

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Earthships have used tyres in their design. However, be mindful this is not necessarily healthy to be integrated into a domestic space.

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Earthship Models Passive solar designs made of natural and upcycled materials. Many models and designs to choose from. Off grid homes