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http://fabtextiles.org/coffee-leather-bag/

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Your waste is my treasure! Working with organic waste can bring circular solutions for the implementation of closed loops of organic feedstocks. At Fab T…

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https://traditionalfutures.org/clothes-design#/kombucha/

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https://www.futurematerialsbank.com/material/agar-agar/

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https://www.futurematerialsbank.com/material/bio-iridescent-sequin/

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Cellulose by Elissa Brunato – Future Materials Bank

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Materials that support the transition towards a more sustainable artistic practice

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https://traditionalfutures.org/clothes-design#/materia-bruta/

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https://peelsphere.com/

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Meet PEELSPHERE®

PEELSPHERE® is a truly circular material made from fruit waste and algae through advanced material engineering. It is created by redefining fruit waste, reducing carbon footprint and designing for circularity. As an ideal alternative to leather and synthetic leather, PEELSPHERE® is beautiful, durable, versatile and biodegradable.

Future of biomaterial

PEELSPHERE® is a bio-innovated material born at the intersectionality of design, material science and sustainability, with a mission to inspire a sustainable, healthy and balanced lifestyle through its quality and beauty.

Become a tester and experience PEELSPHERE®!

© 2022 PEELSPHERE® RESERVED

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Meet PEELSPHERE® PEELSPHERE® is a truly circular material made from fruit waste and algae through advanced material engineering. It is created by redefining fruit waste, reducing carbon footprint and designing for circularity. As an ideal alternative to leather and synthetic leather, PEELSPHERE® is beautiful, durable, versatile and biodegradable.

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https://www.futurematerialsbank.com/materials/

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https://www.instagram.com/p/CqVCIehDfvg/
Ingrédients 👇
👉 eau 200 g
👉 fécule de maïs 15 g
👉 sucre 25 g
👉 colorant gel
Méthode :
1. Dans une casserole ajouter l'eau, le sucre et la fécule de maïs.
Mélangez-les bien. Ensuite, allumez le poêle à feu moyen jusqu'à ce que la consistance soit transparente/max de 8/10min.
2. Vous pouvez l'utiliser immédiatement et ajouter n'importe quelle couleur de gel que vous aimez.
3. Étalez la pâte uniformément et enlevez tout excédent.
4. Passer au four à 50°C pendant 10 à 15 minutes.
Une fois la dentelle séchée, étaler la pâte une 2ème fois. Ainsi, la dentelle deviendra épaisse.
5. Remettez la dentelle au four pendant environ 10 à 15 minutes pour sécher à nouveau
6. Assurez-vous que la dentelle est complètement sèche.
7. Retirez délicatement la dentelle du moule.
8. Pour une utilisation future, placez les lacets au milieu entre deux fils de chaîne ou de papier sulfurisé.
9. Doit être stocké dans un récipient hermétique pendant quelques mois.

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1 cuillère à soupe de bicarbonate de soude
• 1/2 tasse d'eau chaude
• 3 à 4 pompes de désinfectant pour les mains
• Pincée de curcuma

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Centro de materiales de Barcelona - Materfad

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Contamos con una red global de centros afiliados: Materfad Aguascalientes, el centro de materiales de la UAA (México), Materfad Valparaíso, de la Universidad de Valparaíso (Chile), Materfad Medellín, de la Universidad Pontifícia Bolivariana (Colombia) y Materfad Guadalajara, de MIND, México Innovación Diseño (México).

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https://www.instagram.com/tellem.fr/

https://sites.google.com/view/tellemserigraphie
https://www.amestudiobotanique.com/
https://www.instagram.com/amestudiobotanique/
https://www.coloretonmonde.org/formations/stages-s%C3%A9rigraphie-naturelle/

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Analyse de la croissance du mycélium. Co-création avec #livingmaterials #masterclass #mycelium

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abat-jour  en MYCOTEX by NEFFA et entièrement en 3D !

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abat-jour  en MYCOTEX by NEFFA et entièrement en 3D !

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https://www.instagram.com/p/CpiCtYdO-lE/
premier luminaire / abat-jour réalisé en MYCOTEX by NEFFA et entièrement en 3D !

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Avec les mêmes propriétés que le papier, le mycopapier peut se plier, et laisse place à une infinité de plis, de design (origami ?) que j'ai envie de poursuivre ! ce n'est qu'un premier essai avec une petite pochette en mycoplastique

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Fabric for Fashion biomatériaux de mycélium, d'algues 

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Fabric for Fashion biomatériaux de mycélium, d'algues 

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https://www.instagram.com/p/CqU0yy5OVyF/
Fabric for Fashion - le guide complet d'Amanda Johnston et Clive Hallett comprend une section avec des biomatériaux de mycélium, d'algues et plus, y compris notre MYCOTEX by NEFFA !
https://www.instagram.com/p/ChCYhcCja1K/

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https://www.instagram.com/p/CqqIBqLAV73/
1. Mycoplastiques, un terme qu'elle a inventé qui utilise des champignons pour créer des textiles. Les mycoplastiques sont de nature flexible et assez élastique, ce qui lui permet de tester différentes approches dans la mode et la papeterie.

2. Dessins gravés au laser sur mycélium personnalisables comme une expérience artistique

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Je rejoins les commentaires sur la gomme guar 👍 vous pouvez aussi tester avec de l'agar agar, de la farine, de la gomme xanthane. Ça peut modifier le teinte parfois, et il faut doser progressivement pour trouver la texture que l'on souhaite, mais c'est toujours très intéressant d'analyser les résultats !

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les mordants à l'alun ont tendance à donner des couleurs plus claires et plus claires, tandis que les mordants au fer ont tendance à changer les couleurs dans une direction plus sombre et plus acier.

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https://clara-davis.com/albums/in3dustry-reshape-2018/

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CLARA DAVIS = designerd + material activist + chemartist + bioneer

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"Reshape" Exhibition In(3d)ustry - Barcelona 2018

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https://www.thisiscolossal.com/2015/11/delicate-new-knit-glass-sculptures-by-carol-milne/

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Seattle-based artist Carol Milne ( previously) fabricates flowing glass sculptures that mimic the delicate patterns of knit yarn. Contrary to the assumption that Milne has the super-human ability to knit strands of molten glass by hand, the artist instead devised a somewhat complicated process that involves wax casting, mold-making, and kiln-casting. She discusses her techniques in detail in this video from Heather DiPietro.

Over the last year, Milne's artwork has appeared in the 9th Cheongju International Craft Competition, in the Creative Knitting show at the La Conner Quilt & Textile Museum, and at the Lake Oswego Festival of the Arts. You can see more of her recent work at Morgan Contemporary Glass Gallery in Pittsburgh.

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $5 per month. You'll connect with a community of like-minded readers who are passionate about contemporary art, read articles and newsletters ad-free, sustain our interview series, get discounts and early access to our limited-edition print releases, and much more. Join now!

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Delicate 'Knit' Glass Sculptures by Carol Milne - Colossal

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Seattle-based artist Carol Milne (previously) fabricates flowing glass sculptures that mimic the delicate patterns of knit yarn. Contrary to the assumption that Milne has the super-human ability to knit strands of molten glass by hand, the artist instead devised a somewhat complicated process that involves wax casting, mold-making, and kiln-casting.

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https://naturelab.risd.edu/discover/biomaterials-you-can-make-at-home/?mc_cid=af61d94ee1&mc_eid=1a40f53cf1

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Biomaterials You Can Make at Home

One of the exciting things about biomaterials is just how accessible they are: often they can be created from what you already have at home, or with ingredients readily available at the grocery store. Over the next few weeks we will highlight some of the options you might try. This list will be updated weekly for the next month or two.

If you decide to explore any of the below recipes, please let us know how it turns out through this form. We would love to see!

WEEK 7

Agar and alginate are ingredients derived from seaweed and agar is a common stand in for gelatin as a vegan alternative in biomaterial recipes. Agar, alginate, and wood-ash can all be ordered online. Glycerine can be found with the moisturizers at a pharmacy. The following recipe is based on an agar bioplastic composite recipe.

-Mix the ingredients together in a pot (*please do NOT use a pot you will later use for food!)
-Set the heat level of medium low and boil until the liquid gets sticky and thick
-Pour the liquid in a prepared mold
-Allow to dry (6-7 days)

Note:
For the ball pictured here, the mixture was allowed to dry in the tray (a day or two) until just sticky, rolled into the final shape, and then allowed to finish drying.

Composites/Dyes with Potato Starch Bioplastics by Yujin Hwang 21 MID

This week we're highlighting some of the versatility of last week's bioplastics recipe. Ingredients are the same, with the addition of natural dye for color, or kitchen waste dried and used as composite for texture.

This is a flexible sheet, potato starch+gelatin recipe that makes one 6 inch x 9 inch sheet. Corrugated plastic is an ideal re-usable material for making the drying tray.

Ingredients:

60 ml water

6 grams potato starch

6 grams gelatin

6 grams glycerin

Inclusions such as coffee grounds, eggshell or ground pistachio shell

*To create naturally dyed water, boil material such as onion skins or avocado pits in water for 1 hour. Be sure to use more than 60ml of water, as the amount of water will decrease through evaporation. Some dyes, like turmeric, can just be added to final mixture

Directions:

Mix all ingredients well in a small pot

Heat at medium, stirring continuously

Continue stirring until mixture begins to turn whitish and thickens slightly

Turn off stove

Carefully pour the liquid out into your tray

Quickly tilt tray to make sure the liquid reaches all 4 corners; place on heat-proof surface

*Composites can also be made by putting the composite material into tray first, and pouring the bioplastic mixture over them.

This is a flexible sheet, potato starch+gelatin recipe that makes one 6 inch x 9 inch sheet ( recipe can be scaled up - we've made 4 feet x 4 feet sheets with these ratios).

-Shallow tray for drying (corrugated plastic works very well, which can be cut to desired size with 1 inch edges folded up to create a tray)

Directions:
-Mix all ingredients well in a small pot
-Heat at medium, stirring continuously
-Continue stirring until mixture begins to turn whitish and thickens slightly
-Turn off stove
-Carefully pour the liquid out into your tray
-Quickly tilt tray to make sure the liquid reaches all 4 corners; place on heat-proof surface

Recipe Notes:
-Overheating or rapid stirring will cause bubbles to form that will impact your results
-Depending on temperature and humidity, bioplastic will take 4-7 days to cure before you peel it off the sheet. Don't let it sit longer than a week before peeling it off the tray
-The sheet needs to be slightly rough to constrain the bioplastic - too smooth (don't use glass or non-stick!) and the bioplastic will slip off of it and deform, too rough and it will be hard to remove
---This recipe can be used as a base to create composites: consider adding dyes, fibers, paper scraps, etc.

This is part 2 of a 2 part series on how to make your own kombucha bioleather. Here's how to harvest a SCOBY (Symbiotic Culture of Bacteria and Yeast), condition it, and prepare it for your projects.

View the three how-to videos below, with Sarah Garrison [20 MID] taking you through the kombucha bioleather making process.

-Once your SCOBY is at least ⅜ inches thick it can be harvested
-Remove from kombucha
-Wash with lukewarm water and a small amount of dish soap
-Rinse thoroughly (if you chose to dye your SCOBY, do so at this point)
-Place on unfinished wood sheet to dry
-Wait until it is completely dry, but not brittle, before removing. This could take 10+ days depending on thickness and environmental conditions
-Warm a spoonful of coconut oil in your hands, then thoroughly massage into bioleather.
-Repeat until a heavy coat has been applied to both sides of the SCOBY
-Wait 24 hours
-Use a paper towel or clean cloth rag to buff off excess coconut oil

Enjoy your bioleather!

This is part 1 of a 2 part series on how to make your own kombucha bioleather. Below details how to brew kombucha and set it up to grow a SCOBY (Symbiotic Culture of Bacteria and Yeast), which is what you will harvest later for the bioleather. The SCOBY will grow to the dimensions of your liquid's surface, so keep that in mind when selecting a glass pan/container for it to grow in. The SCOBY will need time to grow thick enough to harvest, so plan on waiting at least 6 weeks before you will be able to have your first finished sheet of bioleather.

View the three how-to videos below, with Sarah Garrison [20 MID] taking you through the kombucha bioleather making process.

-In a large pot, boil 4 cups water
-Dissolve sugar in water
-Remove from heat
-Steep tea for 15 minutes
-Add 8 cups cold water (solution must be room temperature BEFORE adding kombucha)
-Add bottle of kombucha and stir
-Fill sterilized large glass pan, leaving at least ½ from surface to lip of pan
-Refrigerate remaining liquid for a later step
-Cover with cotton fabric and secure (if you are using tin join or plastic wrap poke a lot of tiny holes in the material so you liquid can get plenty of fresh air)
-Place in a warm, dry location away from direct sunlight

The SCOBY is a living thing and will need new nutrients to continue growing!

-Add more liquid once a week, or more often if your pan begins to dry out. If you run out of liquid, make a ½ or ¼ batch of this recipe, omitting bottled kombucha.
-Within 1 week a film should start to form on the surface. It will look strange, don't worry!
-Wait 3-4 weeks to see proper SCOBY growth
-Seed mat can be placed below the glass to speed up metabolism

WEEK 2

Ingredients:
-25 g corn starch
-125g sand
-22.5 ml water

-Mix the cornstarch and sand well
-Add water (mixture will be dry and form small clumps)
-Press mixture into a (microwave safe!) mold (for example, balloons were used for the rounded shapes)
-Microwave mixture for 3-5 minutes
-Allow mixture to cool, and then remove from mold
-This creates a very hard, concrete-like material

Experiment with: sand coarseness, alternative composite materials and dyes (keeping the ratios of cornstarch:water aggregate the same). The larger brown sphere was made with cornstarch and cork granules - it's a solid, but very light form.

WEEK 1

Ah, complementary colors. Who knew that the skin and peels of this creamy wonder would yield such a dye?

Other food-source dyes to try: black tea (brown), red onion skins (pink to reddish brown), yellow onion (golds), turmeric (orange/golds), etc

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Nature Lab - Biomaterials You Can Make at Home

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One of the exciting things about biomaterials is just how accessible they are: often they can be created from what you already have at home, or with ingredients readily available at the grocery store. Over the next few weeks we will highlight some of the options you might try.

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https://v0ss3n.github.io/documentation/wetlab/2019/12/17/alginate-bioplastics-experiments.html

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Leftover alginate

There was a jar filled with alginate mixed with water sitting in the textilelab since November 11th, so we wanted to see if it was still useable. It was very watery so Sarah did a test (casting a bit of the material and spraying it with sodium chloride hydrate mixed with water) to see if the alginate would solidify. That didn't work, so we decided to see if we could evaporate the water by heating the mixture to 80 degrees celsius. We did three separate tests after about 10, 20 and 30 minutes. The first try the material could barely be picked up; the second and third try were a bit better but still not very satisfying. After about 55 minutes of heating I decided to just go for it, and see what happens when I cast the alginate mixture on a lasercut mold, spray it, add fabric on top and cast the last bit of alginate mixture on top of that and spray that. I also added some blue dye (alkanet mixed with alcohol made by Sarah). It was not a succes but hopefully some drying helps.

The see-through result is not very sturdy but quite nice:

Flexible bioplastic

The recipe I used as a basis is the flexible bioplastic one. I also added some coloring: Sarah made a dye out of alkanet mixed with alcohol and sodium carbonate, which produces a magenta color.

Recipe for the spray to cure the alginate bioplastic:

10 ml sodium chloride hydrate

100 ml water

Recipe for alginate bioplastic (doubled and slightly modified):

24 gram alginate

41,9 gram glycerine

22,1 gram sunflower oil

400 ml water

1 tbsp magenta alkanet dye

Everything can be mixed using a blender:

The final mixture is very thick (kind of like a strawberry milkshake):

After a day of letting the mixture sit it looks like this:

I cast it on some lasercut molds I made using diary entries of two of my friends as a source.

There is quite a bit of deformation on this bioplastic, especially visible on the teal fabric one that is cast a bit thicker than the other (the middle and right picture on the picture below).

When fully dried almost all of the color has gone. The plastic also has become slightly translucent.

The leftover words are quite legible and didn't shrink very much. They are a bit brown from the burnt lasercut edges from the mold.

The following image is a good indication how much alginate shrinks. The color also transformed from a nice pastel pink into a kind of expired ham color. The other samples changed quite a bit in shape and color as well.

I also cast this mixture on my molded glove model which you can find here.

Flexible biofoil

Initially I wanted to double the recipe and add alkanet dye, but I made a mistake and added gelatine instead of glycerine.

Using the following recipe:

16 gram alginate

40 gram glycerine

40 gram gelatine

600 ml water

12 ml blue alkanet dye

Because the glycerine shouldn't have been there I decided not to let the mixture rest and just cast some samples to see what would happen.

On the left you can see the bioplastic experiments from before and the glycerine alginate samples. In the image on the right you can see the biofoil with glycerine when fully dried on the right, next to the dried bioplastic. The color seemed to be a pale lilac at first, but turned into a grey hue.

After that I heated the mixture in a pot to about 80 degrees Celsius because the gelatine was still solid. I cast a thin sheet for future lasercutting and a thick sheet for text molding. I also used a syringe to create thick bioplastic threads by extruding directly into a bath of calcium chloride.

Since gelatine is water-soluble and alginate bioplastic is waterproof, I wondered whether adding gelatine had any influence on the waterproof property. I did a test adding some threads to boiling hot water and let it sit for a few hours, but nothing happened other than the plastic becoming a bit more see-through temporarily so my conclusion is that the gelatine doesn't decrease the water resistance.

The biofoil turned out pretty nice, although there are a few bubbles visible (probably either because I didn't let the mixture rest or because I flipped the material to spray the bottom). The text on the biofoil on the right is unintelligible at first sight but I like how it looks, it's something that requires more effort to decipher.

Flexible biofoil (second try)

16 gram alginate

40 gram glycerine

400 ml water

1 tbsp blue alkanet dye

1/2 tbsp yellow lichen dye

This is the biofoil recipe I used for casting on a mold, which I describe here.

Tips

If you want to use plywood for bioplastic casting, you can use vaseline spray to prevent the bioplastic from sticking to the wood. For alginate specifically it also helps if the material is lightly sprayed with the calcium chloride, but after a while the wood will deform because of the water

The first time you use lasercut wood it will leave a brown/black residue on the plastic so use some leftover plastic to get rid of that first

Keep in mind that once you spray the alginate with calcium chloride, you cannot cast another layer of alginate on top of that layer, because the second layer will immediately react with the residue on the first layer

When peeling off the plastic from the mold, keep spraying between the wood and the plastic to prevent ripping

Drying the plastic works best if you move it as little as possible so it stays flat

Alginate changes quite a bit colorwise so if you want a saturated sample be sure to add a lot of dye (more than I used in the recipes)

The thicker and smaller the material, the more (irregular) the material deforms

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There was a jar filled with alginate mixed with water sitting in the textilelab since November 11th, so we wanted to see if it was still useable. It was very watery so Sarah did a test (casting a bit of the material and spraying it with sodium chloride hydrate mixed with water) to see if the alginate would solidify.

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biodigrable sequins. It gave me the change of working within 2km radius location to adapt and build my colours, base and technique.

All the colours are created from natural sources such as flowers, earth, planets and vegetables showing the variation from season to season but also giving a chance to be able to physically pick your colour palette.

These Bio sequins not only focus on sustainable fashion and textiles but revolutionising the supply chain of locally made fabrics.

FUTURE BIODEGRADABLE FASHION / HOW IT WORKS.

I worked and experimented over the last 5 years i have been able to adapt the material from a solid to a silicon quality with endless possibilities from weaving, joining, interlocking, dry molding etc.
Bioplastic is a material that looks and feels like a plastic but is made wholly from biological material such as algae, seaweed and other natural resources.
The Bioplastic I make is made of food that has been thrown away and / or discarded.

Samples of different types of colours and material bases from nature to show variations of colours and wood to incorporate into the biofabrics.

The Bio-fabrics samples displayed are sequins developed from local flowers to create a sustainable embellishment alternative. Each one hand cut, hand made and home grown to show the future of Biocouture.​​

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biodigrable sequins. It gave me the change of working within 2km radius location to adapt and build my colours, base and technique. All the colours are created from natural sources such as flowers, earth, planets and vegetables showing the variation from season to season but also giving a chance to be able to physically pick your colour palette.

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Alice Potts

For this year's round-up of the biomaterial designers to watch, we're not just writing about our favourite trailblazers - we're exhibiting their work too.

Since the opening of our first Material Source Studio in Manchester, we've been preparing a very special exhibition: From The Ground Up, showcasing the most innovative bio-based materials on our radars right now.

If you've visited us already, you've likely seen our preview selection. But do pop along and see the exhibition in full in our Basement Gallery space. You will experience many of the below designers' work, which has never before been shown in the North West.

So, without further ado, here are our top 22 biomaterial designers to watch in 2022 - many of which you can experience in person at 1 Federation Street from the end of this month.

1. Alice Potts

As a material researcher and inventor, Alice has spent the last 6 years working on the development of sustainable bio-fabrication for industry. Including store concept, art exhibitions, catwalks, fashion items and products in collaboration with companies as a freelancer.

Alice's focus is on the importance of bodily function within materiality looking at the interconnection between biology and materiality. Through her innovations she aims to create new future thinking processes in all fields. Reminding people that our bodies are still our greatest technologies, her main focus as an innovator is to work in collaboration with others to create a new sustainable future, while educating in the process.
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2. Hannah Elisabeth Jones

Hannah Elisabeth Jones is a multidisciplinary artist-designer specialising in biomaterials and organic colour. She has an innovative approach to textiles, blending an interest in natural materials with an ethical commitment to developing an ecologically sensitive practice and a strong visual aesthetic.

Hannah's work process is underpinned by an engagement with research across the arts, humanities and sciences.
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3. Youyang Song

Youyang Song has devoted herself to developing new biodegradable materials.

She aims to establish a viable and complete ecosystem of biodegradable materials through introducing new methods of making, and encouraging new mindsets to revolutionise the whole materials industry.
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4. Ottan Studio

An impact startup focused on up-cycling green waste into high-quality materials to be used in interior design and industrial design products, Ottan Studio sees the beauty in the pieces of nature people call waste. From seed to tree, from tree to life... its aim is to show that anything can be created from nature without consuming it. ​
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5. Carolyn Raff

Carolyn Raff is the brainchild behind "An ocean full of ​​possibilities", an experimental and conceptual design approach based on rapidly renewable raw materials from the sea.

She graduated from the State Academy of Fine Arts in Stuttgart in 2017 after completing a textile design course. Since then, she has worked as a freelance designer, securing a scholarship for her unique project from the State of Baden-Württemberg.
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6. Philip Hainke

Philipp Hainke is a product designer with a focus on sustainable design and circular economy. During his studies, he passed through Germany, Poland, and Australia and graduated at the University of the Arts Berlin, focusing on sustainable product and process design.

In a dialogue between technical and ecological material cycles, he is aiming to design resilient systems from which both nature and culture can benefit. His design unites the intersections of social, technical and ecological issues, making it a key element for innovation and sustainable development.
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7. Sarmite Polakova

Studio Sarmite is the practice of Sarmite Polakova, a Latvian designer living and working in Frankfurt.

In 2015 she graduated from the Design Academy Eindhoven where she developed a special interest in raw materials and research. Her body of work focuses on transforming unassuming, natural materials into a new purpose and series of design objects through extensive theoretical and practical research.
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8. Wilde Studio

Wilde Studio is a slow textile project between two sisters, Katrina and Nadine Wilde.

Exploring natural materials, slow processes and craft, they create naturally dyed, printed and handwoven textiles in their studio; Katrina focuses on colour application and Nadine on hand-weaving.

The materials the duo works with come from different sources and most often are pre-loved, vintage, local, dead-stock or destined for landfill, creating pieces they hope will be loved for lifetimes. The plants they use are home-grown in their allotment, gathered from waste streams, foraged and occasionally bought. Wilde Studio's work is always collaborative; with one-other, artists, local communities, designers, brands and the plant world.
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9. Lulu Harrison

Thames Glass was founded by Lulu Harrison, a second year MA Material Futures student studying at Central Saint Martins. For the last year, she has been creating unique batch recipes, replacing the highly processed materials that are often used in glassmaking.

Throughout this process, she has been working alongside glass masters in the UK & Murano, Italy, as well as professors in glass archaeology and Thames Water. By combining crafts, design and science, Thames Glass actively seeks to redefine the meaning of 'luxury', through working with waste materials and local communities.
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10. BIOHM

Biohm has a vision to create a healthier and more sustainable built environment by drawing on nature for inspiration and innovation. It believes that at a time of climate crisis, radical change is needed, requiring systemic innovation on a large scale to redress the multifaceted issues interwoven within our economies that have led us to where we are now.

"If we are to venture beyond merely reducing our impact on the planet and our health, contemporary approaches to waste management, manufacturing and building must undergo a step-change towards having a positive and regenerative impact."

The goal is not only to build a successful company, but moreover, to improve the quality of people's lives through enabling the use of healthy, environmentally friendly, circular materials and building solutions for applications across the design and construction industries, eliminating the concept of waste and demonstrating how business can equitably and ethically work in collaboration with the natural world, industry, academia, government and community.
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11. Bioforcetech

Bioforcetech is in the business of providing biosolids and organic waste solutions using two efficient and high value processes, the Biodryer and the "P series" Pyrolysis Units. While the equipment can be used independently, the BioDryer and Pyrolysis units are most effective when configured together as an integrated system.

It is committed to protecting nature and human health by providing technologies that deliver a zero waste future, transforming organic waste into sustainable products.
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12. Giles Miller

Giles Miller Studio believes in the enrichment of human surroundings. It creates artistically focussed surfaces, architecture and sculpture. In each discipline the studio brings new meaning to spaces by celebrating the relationship between materials and light.

Most recently, the Studio has collaborated with material design studio HighSociety to offer its signature tile designs in a new eco-friendly material range. The collection is crafted with by products of wine, hemp, coffee, tobacco, garlic and vodka (charcoal) production.

These by-products are collected from small local businesses and then formed into the signature 'Fin' and 'Penny' tiles using FSC virgin cellulose (coming from various agrifood by-products). The manufacturing process explores the intersection of handcrafting and industrial techniques, the latter powered by renewable energies. The tiles are fully biodegradable and compostable.
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13. Paula Nerlich

Driven by a deep fascination for circular, Earth-centred design and future thinking, Paula Nerlich is a material designer, trend researcher and educator.

She has a deep belief that the future lies in cross-disciplinary collaboration and exploration, explaining, "Only as a global community we can create an impact that will support the well-being of Earth and its inhabitants."

Paula's current research has brought about the creation of new materials, such as 'Aqua Faba Biofoam' and 'COCOA001' - both represented in material libraries across Europe.
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14. hors-studio

Founded by Elodie Michaud and Rebecca Fezard, hors-studio specialises in surface and textile design. With a particular focus on the choice, treatment and ennoblement of materials, they approach projects in a transversal way at the frontier between design, fashion, art of living, graphics and space.

Elodie and Rebecca carry out research and experimentation on the valorization of scraps and waste from industrial and craft production. This research in design around the recovered and crushed material, allows them to achieve a more specific work of manifest installations.
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15. Atelier Barb

Atelier Barb aims to see a future in which slow production is the norm where the artisan manufacturing is protected, harmful materials are avoided, and waste is being used as a resource.

Their process includes developing solutions for applications within design and production while addressing the issue of waste. They display a contemporary role in the industry by combining their analogue production processes and organisms, such as waste matter, bio binders and living materials with their systematic design approach.

Atelier Barb contributes to the United Nations Sustainable Development Goals' objectives of Responsible Production and Consumption and Climate Action by developing innovative materials, which is one of the studio's foundations, and creating Sustainable Cities and Communities by raising societal awareness with the products they design and produce using these regenerative materials. They established this studio to question every material that opposes them and to encourage everyone who makes and consumes anything to do so as well.
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16. Studiograma

Studiograma believes that Posidonia - a seagrass species - is one of the most important natural values of the Mediterranean Sea. Though equally, one of the most threatened species of the planet.

"Though we cannot see it, there is a magical process happening under the surface. When the rhizome of the plant loses its fibres, the movement of the sea sews natural fibre balls that are given to us as a present, arriving at the Mediterranean coasts."

Through its Posidonia project, Studiograma's objective is to create a new material using these balls in order to benefit the economy of the regions around the sea and help local companies in the process.
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17. Alex Schofield

Native Oakland-based designer Alex Schofield focuses on emerging technologies, material research, and their implications within the built environment. He completed his M.Arch at University of California, Berkeley, where he received the Mario Ciampi Art in Architecture Award for his parafictional exploration in fabrication, agency, and form of an architecture built from coffee grounds.

Previously, Alex Schofield has worked as a Researcher at UC Berkeley College of Environmental Design in development of the printFARM (Print Facility for Architecture, Research, and Materials) and various 3D printed material methods and materials. He has worked for innovative materials and technology based design firm Emerging Objects as well as the environmentally focused Hyphae Design Laboratory.

He has since completed residencies at both Autodesk Pier 9 and Workshop Residence in San Francisco, and has lectured and exhibited his work abroad. Alex also teaches at California College of the Arts, where he is an adjunct professor of Architecture and collaborator with the Architectural Ecologies Lab.
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18. Benedetta Pompili

Benedetta Pompili is an interdisciplinary designer based in Amsterdam. A dedication to earthwork ethics and local narratives distinct her practice. She focuses on learning making processes, rethinking them for sustainability aims and magnifying overlooked viewpoints.

Her work aims to inspire and motivate by challenging common perceptions, encouraging a change in habit by introducing intersectional and transdisciplinary perspectives. She is among the recipients of the Stimuleringsfonds Building Talent Grant of 2022, as well as Ceramics Tech Fellow at the Rijksakademie in Amsterdam.
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19. Lionne Van Deursen

After graduation, Lionne started Studio Lionne van Deursen to focus on material research and product design. The studio focuses on experimental research, giving insight into the possibilities of new materials. At the moment, she is focused on a material made of bacterial cellulose.

In the studio, an organically grown material is developed and the products are handmade. During the design process, the material is used as efficiently as possible, leaving minimal waste. The grown material is also dyed with natural pigments.
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20. Blast Studio

Blast Studio (Biological Laboratory of Architecture and Sensitive Technology) is a design studio created in 2018 by Paola Garnousset, Martin Detoeuf and Pierre de Pingon with the aim to explore how nature and technology can be put in dialogue in order to transform cities' discarded material into artefact and architecture.
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21. Austeja Platukyte

Austeja Platukyte is a creative researcher working in between the disciplines of material design and science, technology, and craft. Her creative solutions are systematically linked to the theme of organic matter and a topic of materials transformation into other forms, introducing new social, cultural, economic, and psychological context into her creative process. In each of her projects, the artist seeks to highlight the relevance of the creative process, gain real experience in the development of new materials.

Austeja combines experimental research with the imagination and interpretation of existing knowledge. She explores the fundamental ecological problems, emphasising subjective emotional involvement, and questioning the values of an anthropocentric society. Departing from the aesthetic, formal, and functional definitions, she seeks to discover alternative design methods that will resist the logic of universality, functionality, and overall beauty dictated by large-scale industry.
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22. Tŷ Syml

Tŷ Syml is an award-winning experimental design studio based in Pembrokeshire, South Wales. The team is currently focusing on the use of seaweed and mycelium (mushroom) composites as a material to create a range of products such as lampshades and acoustic wall panels. With a focus on sustainability, the materials they develop are designed to have a negligible impact on society and the environment.
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Top 22 biomaterial designers to watch in 2022.

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For this year's round-up of the biomaterial designers to watch, we're not just writing about our favourite trailblazers - we're exhibiting their work too. Since the opening of our first Material So1

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