Shadescape: A Participatory Research Project in Collaboration with LSBU

Earlier this year Ella Doran Design partnered with London South Bank University to run a small participatory piece of research named Shadescape, looking at a circular economy for textile-based shading products with a focus on the local economy.

I have been asking the question of how my company Ella Doran Design Ltd could close the loop and gain more transparency through our supply chains and communicate end-of-life or ‘next life’ with our customer base, for our shading products. Deborah Andrews has been my mentor on several applications to support this research. Below is an outline of what we have achieved so far, thanks to LSBU’s support through an External Participatory and Collaborative grant.

We spoke and/or worked with ‘actors’ throughout the product life cycle, from traders of the base cloth to the printers and recyclers, re-makers, and consumers. The project itself also involved re-making workshops where participants learned to repair and or repurpose waste shading textiles, empowering them to contribute to solutions that sustain materials and keep them in use demonstrating a circular economy in action.

You can read the call to action that we sent to our customer base here.

London South Bank University supported the conduction and management of the research, the workshops, and the publishing of the report. Deborah Andrews particularly was the academic eye during the whole time guiding and mentoring the process with her experience and past related studies. Essential was the collaboration with my company and Yodomo who contributed with their community engagement and making space in Hackney Wick for the public re-making workshops.

We also had full support from Hackney Council which promoted Shadescape at their Summer 2023 Sustainability Day where Sophie of Yodomo and I ran cushion-making workshops using remnant and pre-used textiles with the local community.

This research and the project pilot touched every point mapped on the journey around Circular Economy for textiles in the Shading Product Industry. The research was structured to better understand the common practices of the industry and the behaviours of consumers. Unfortunately, the industry participation was scarce, nevertheless, the three interviewed experts gave precious insights that will inform further investigations. In the future, engaging more suppliers, manufacturers, and waste management companies will be extremely important to tightly close the loop of this discourse. Talking with a couple of my suppliers, it emerged that they live in a stationary condition and are unable to drive the change, due to their scale especially as they are not the actual ‘producers of the raw textile’. Also, the recycler we spoke with confirmed that traders as well as consumers do not have alternatives to landfill when it comes to disposing of shading textiles, and institutions do not seem to put systems in place for that. Textile waste collectors, re-purpose hubs, and recycling plants are still too rare.

An additional survey regarding housing may help identify new opportunities for further studies and implement the holistic approach carried out so far. This research also demonstrated that blinds and curtains are valued after their use, and that circular approaches like this pilot have foundations to be built on. Public engagement is clearly evident, and not to be underestimated but rather leveraged. The Shadescape project and survey demonstrated that people have a sincere interest in contributing to research and are eager to acquire skills to play their part in the circular economy. They also committed to donating fabrics and repurposing them during workshops where sustainability values and actions were shared. In turn, the participants felt empowered, confident, and able to continue repurposing fabrics in the future. Finally, this study generated an ecosystem by connecting different elements together adopting a systemic approach. It highlights the preconditions for a localised circular economy where shading textiles are collected from pre-and post-consumer waste streams to be regenerated into new products by and for skilled communities.

This can help not only Hackney but also other councils to meet their sustainability targets. To achieve a stronger, lasting, broader, and demonstrable impact, the study needs to expand and build on the foundations of this pilot. Here, environmental and social benefits start to be explored by offering a way to reduce the need for new resources, mitigating the textile production impact on land and by teaching people new skills while developing a sense of responsibility and control towards waste. However, to determine a more accurate social impact the study needs to be extended to a larger and more diverse audience. Moreover, some points are still necessary to generate a Circular Economy Template/Actions Guidelines and to further engage experts of the shading products industry, as well as citizens.

This text has been adapted from the report and conclusions of our first research project with London South Bank University.

This recent Guardian article clarifies the issue further with the dumping of textiles in Chile’s Atacama desert to a beach in Accra, Ghana, but it also sheds light on an exciting innovation with Renewcell which can and will begin to change some of this discourse through recycling used clothes, but there is still much work to be done!

For those of you still curious I learned about Renewcell via watching the World Circular Textile Day held at The Conduit the afternoon session can be watched here if you are interested. A wider question, one that was raised at this event, and one I have been grappling with in my own business for some years now, is Jason Hickel’s book and provocation of LESS is MORE… How can we manage this transition in essentially making ‘less’ whilst retaining a healthy system?

He neatly points out that “… It’s not growth that’s the problem, it’s growthism: the pursuit of growth for its own sake or for the sake of capital accumulation”

He also said “….once we are liberated from the growth imperative we will be free to focus on different kinds of innovations – innovations designed to improve human and ecological welfare, rather than innovations designed to speed up the rate of extraction and production.”

A statement that I and all at Shadescape wholeheartedly agree and believe we are advocating through the participatory work with Yodomo to empower and inspire creative solutions to shading products.

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Cosentino introduces Le Chic new collection, an advanced design proposal that recovers the beauty of veined patterns to show all the elegance and sophistication of Silestone®. Introducing six new designs, Silestone® Le Chic features patterns with expressive veins and metallic accents that stand out against neutral backdrops like cream or deep blues and blacks, obtaining designs full of depth.

Cosentino Group, global leader in the production and distribution of innovative and sustainable surfaces for architecture and design presents Le Chic, the latest release from Silestone® by Cosentino.

“Elegance,” said of a work is something that is distinguished by a minimalist simplicity that does not impede precision and excellence. For its part, it’s said that something is “refined” when it’s perfected, and it becomes finer and purer. Both definitions are embodied in Le Chic, from Silestone® by Cosentino. After conquering urban spaces with modern aesthetics with Urban Crush series, Le Chic shows all the elegance and sophistication of Silestone®.

This new Silestone® series redefines a timeless classic. A step forward in veined-patterned surfacing with six design proposals that offers the charm of Victorian and Parisian spaces, speaking to nostalgia with a modern yet timeless execution. Le Chic collection is an elegant and sophisticated offering at the intersection of fashion and design. The patterns feature expressive veins and metallic accents that stand out against neutral backdrops like cream or deep blues and blacks, obtaining designs full of depth.

The refinement flourishes from the ground of innovation and sustainability. Le Chic represents advancement in Cosentino’s surface manufacturing, as the detailed veining requires an all-new system of design. The intricate, interlocking veins are made possible by the brand’s new molding system, giving life to particles and minerals of a wide range of sizes and creating an incredible new texture.

The real sustainability of this collection comes from Cosentino’s patented HybriQ+® technology. Silestone® Le Chic is manufactured using 99% reused water and 100% renewable energy, and incorporating a minimum of 20% recycled raw materials in its composition, that also has less than 40% of silica.

Le Chic collection is composed of six designs: Parisien Blue, Eclectic Pearl, Versailles Ivory, Victorian Silver, Bohemian Flame and Romantic Ash.

Parisien Blue
Pure nostalgia for the French capital. Boasts a deep bluish tone with strong personality and powerful character. Inspired by the shades seen in famous Imperial Roman stones, combined with fine veins in ochre tones.

Eclectic Pearl
One of the best examples of Le Chic essence. Classic and modern perfect fusion. Flowing streams of delicate tones incrusted with grains like diamonds on jewelry. Eclectic Pearl hypnotizes with delicate veining, texture, and metallic accents across the whole surface.

Versailles Ivory
The warmest tone of the collection. Very subtle two-toned marbling in the background with gradient effects mesmerize with the flickering lights of its golden sparkle. Versailles Ivory exudes luxury and elegance, reminiscent of the exuberance of the Palace of Versailles.

Victorian Silver
Soft and subtle two-toned marbling in the background, with gradient effects and great depth. The cool background tone blends with its silver and dark grey veins to create an elegant colour that fits seamlessly with warm and cold tones.

Bohemian Flame
This colour presents subtle sinuous veins with metallic inlays in copper shades. The movement of the golden flows of lava that generate scars on volcanic soil inspires it. It’s reminiscent of the calmly moving golden flame of candles accentuating tiny metallic pieces.

Romantic Ash
Another example of Le Chic’s visual excellence. Large rivers and incrustations of grains in various sizes awaken memories of a milky way visible on a clear starry sky. The accent of blue strengthens the depth of Romantic Ash.

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This week’s instalment of the Project of the Week series features a sustainable desert home design by 2023 SBID Awards Finalist, Daniel Joseph Chenin.

Perched atop a rocky outcropping with views to surrounding canyons, Fort 137 was designed as a sustainable home using passive and active strategies. Large, operable fenestrations on the north and south facades extend the living space beyond the architectural perimeter and provide cross-ventilation and daylighting, along with expansive views. Louvered roof overhangs minimise heat gain during summer months while allowing natural light to permeate in the winter. Thick stone clad walls regulate thermal transmission.

What was the client’s brief? 

There wasn’t a brief, so to speak, or a strong directive from our clients, but through our pre-design conversations, we learned our client’s priorities which included sustainability, generous space for family connections, and integration with the surrounding natural environment.

What inspired the design of the project?

The client’s site sits at the most remote edge of the Las Vegas Valley, with unobstructed views of the surround federally protected desert and canyons. This intentionally remote location, coupled with our client’s desire to be immersed in the landscape with an environmentally conscious home, served as our inspiration. The ‘Old Mormon Fort’, one of the oldest remaining structures from Las Vegas’ early settlement days, immediately came to mind. Dating back to the 1800s, this historic structure serves as a case study on passive design for the desert. With thick walls, comprised of regional stone, deep-set fenestration, trellis shade structures, and a courtyard configuration, Fort 137 reclaims the vernacular architecture of the American frontier. The exterior material palette is compatible with the contextual desert environment and is terraced into the hillside, appearing to emerge from the rock-strewn desert.

What was the toughest hurdle your team overcame during the project?

At first glance, the undeveloped site presented a challenge. While situated on a hillside, the site itself was in a crest that blocked many of the views of Red Rock Canyon that our clients wanted to capture. Recognising the importance of the views and sightlines, our design elevated portions of the home by 1.5 meters through a subtle grading approach. Ultimately, we were able to deliver the spectacular desert views that originally drew our clients to the site with no steps or level changes inside the residence.

What was your team’s highlight of the project?

The entry rotunda is one of the stand-out elements of the design. It is the lone round element in an otherwise orthogonal structure, so it an anomaly from a form perspective, but it is even more unique functionally and conceptually. Outwardly unassuming, the cylindrical volume acts as a point of reflection and transition. A bubbling water feature located at the center of the darkened space transports visitors from the fast-paced world outside with the sounds and smells of a desert monsoon rain. The portal serves as palette cleanser of sorts, setting the scene for this modern interpretation of a fort.

Why did you enter the SBID Awards?

The SBID Awards is an opportunity to showcase our designs to an international audience along with a highly respected panel of judges representing a cross section of the industry.

What has being an Award Finalist meant to you and your business?

As a designer, it is always extremely gratifying to have your work recognised by peers and industry leaders alike. My team and I invest so much of ourselves in our projects – each of which take years to bring to fruition. We are grateful and honored to be an SBID Award Finalist.

Questions answered by Daniel Chenin, Founder of Daniel Joseph Chenin.

Gaggenau, the luxury brand for professional-grade home appliances, is once again immersing itself in the London Festival of Architecture 2023.

As part of the month-long celebration of architecture, Gaggenau London is showcasing a specially commissioned installation, TIME by Raphaé Memon and Sikander Pervez. It will be on display in the showroom window until 30 June 2023.

TIME is a series of handmade clocks, stacked vertically, designed to encourage us to explore our complex relationship with time. It was created by architect and stage designer Raphaé Memon and Sikander Pervez, a visual artist working in sculpture and installation. The duo’s brief for the installation was to use materials produced as a by-product of Gaggenau’s manufacturing process. As a result, the clocks are cast in plaster to be as close to zero-waste as possible.

“We were inspired by Gaggenau’s focus on hand craftsmanship, heritage and sustainability,” says Sikander Pervez. “A commonality found throughout is time. For example, the time it takes to consider lifestyles around which the appliances are designed. Everything at Gaggenau is manufactured precisely to ensure a minimal amount of waste is produced, so the consumer shares the maximum amount of time with appliances that are built to last.”

Each clock relates to a global time zone, including cities with Gaggenau showrooms, places that are personal to the designers and those who work at Gaggenau London, as well as countries that are most vulnerable to climate change. “The clocks have been handmade and signed as an edition of 200, with the aim that their life will continue beyond the installation in people’s homes,” adds Raphaé Memon. “They will therefore extend their time as functional objects, in keeping with the global conversation surrounding sustainability.”

Edina Crnkic, Gaggenau Group Brand Marketing Manager, said: “We are excited to work with Raphaé and Sikander to showcase this intriguing and very beautiful work. It chimes perfectly with Gaggenau’s values in terms of craftsmanship and sustainability and I’m sure it will spark many conversations.”

Gaggenau London is situated at 40 Wigmore Street and visitors will be able to enjoy the TIME installation throughout London Festival of Architecture (1-30 June 2023).

Any visitor who would like to take a clock home should register their interest at the showroom. The clocks will then be given out on a first-come, first-served basis at 10am on 1 July 2023.

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Promoting independence and wellbeing in later life, the UK’s market leader in vinyl flooring, Karndean Designflooring, has partnered with retirement living specialist, Inspired Villages, to provide a high quality experience and the ideal solution for a healthy retirement.

Elderswell in Bedfordshire, the latest development in Inspired Villages’ portfolio which opened in November 2022 and will include 156 homes, demonstrates how an inclusive approach and a comfortable environment with a premium finish can transform the retirement experience.

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Innovative design and enhanced technology meets form and function with the new Creo and Vito 25mm sustainable shower trays from Crosswater. Whether the goal is to make a design statement or create a minimalist silhouette where the shower blends seamlessly into the wider bathroom, these will elevate any shower space.

Crafted from 100% recyclable Dolomite engineered stone and hand finished to perfection, Creo and Vito are expertly designed with comfort and efficiency in mind. Smooth and warm to the touch, engineered stone is soothing underfoot and creates a sleek, seamless feel.

Designed with high-flow central or linear drainage systems for faster drainage and almost invisible gullies and edges, shallow pools of water are a thing of the past. And with no hard, uncomfortable ridges to step on, the designs allow continuous flow from the rest of the bathroom floor.

Using natural materials embraces relaxation and wellness principles that instil a sense of natural tranquility. Brilliantly resilient and hard-wearing with exceptional impact resistance, engineered stone retains water thermal temperature for longer, creating a warm and luxurious showering experience.

Manufactured in a zero-emission factory that uses 100% solar energy, using engineered stone considerably reduces the energy required to make each tray and excess materials are simply repurposed. The trays are finished with a permanent Nanocoat gel, ensuring the surfaces are non-porous, anti-bacterial and easy to clean.

Creo is available in rectangular and offset quadrant options – prices from £260. Vito is available in square and rectangular options – prices from £311.

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The UK’s market leader in luxury vinyl flooring, Karndean Designflooring, is introducing its biggest collection update yet with new designs inspired by moments of nature sourced throughout the world.

The updated Van Gogh collection features new designs in additional format and tile size choices, including on-trend herringbone and chevron. Having taken its Van Gogh range into dual format (gluedown and rigid core) territory in 2020, Karndean flooring is expanding the collection with 24 brand new designs, including its first stone designs, as well as bringing further format and size choices to a number of existing designs.

“Now celebrating our 50^th year in the industry, Karndean is trusted as a manufacturer of authentic flooring designs that meet both aesthetic and technical specifications of any project. Known for never resting on our laurels, this launch expands our Van Gogh range to a total of 70 wood and stone designs in a convenient choice of sizes and formats. This unsurpassed versatility offers specifiers a whole different level of creative freedom, from the ability to take the same design over different subfloor conditions to incorporating imaginative patterns and colour combinations.”

The Van Gogh range is introducing nine brand new wood designs, including four characterful Highland Oaks, two rustic Farmhouse Oaks and two warm American Cedars. Designers looking to conceive distinctive and playful interiors will also welcome the introduction of a chevron plank to three Brushed Oak colourways. The 28” x 7”chevron plank broadens the opportunities to incorporate different laying patterns for visual interest and a sense of movement.

Incorporating stone designs into the Van Gogh range for the first time has elevated its design potential, generating endless scope for bespoke flooring using a combination of wood and stone designs. Inspired by stones sourced from across Europe, 15 striking new designs feature the beauty and elegance of marble, slate and terracotta. The large tile size of these designs, including a new 18” x 36” tile, serves to accentuate and enhance the natural textures and variation found in the original samples.

Whether opting for a rigid core format over uneven or drying subfloors, or creating one-off designs with gluedown, specifiers will appreciate how this comprehensive Van Gogh range inspires and enables unique yet cohesive interiors with the durability to stand the test of time.

Offering enhanced acoustic benefits and easy to install with a click-locking mechanism, Karndean’s rigid core designs come with a colour matched scotia for a seamless finish. The Van Gogh range comes with an Environmental Product Declaration and the reassurance of a 15 year guarantee for commercial settings and a lifetime guarantee for residential settings.

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Oxley’s furniture have been displaying their outdoor furniture at the RHS Chelsea Flower Show for 30 years, demonstrating the company moto of sustainable luxury. Each piece of furniture they have ever made in all those years has been made from 100% recycled aluminium and the company is currently re-recycling furniture that it sold at its first appearance at the show back in 1993.

For this year’s stand Oxley’s have teamed up with JAB International® to promote their wonderful outdoor fabrics complimenting their luxury furniture. Over the summer months Oxley’s Furniture will be displayed at JAB’s London showroom in the Chelsea Harbour, beautifully paired with JAB outdoor fabrics for the cushions.

To further this collaboration between the two companies, Oxley’s will also be promoting JAB carpets. The purely elegant carpets generate fluent transitions between indoors and outdoors, creating a homely atmosphere on terraces, gardens and pool areas.

Simon Hudson, Managing Director of Oxley’s Furniture said: “This is the first time we have worked so closely with one of the world’s eminent outdoor fabric houses. We have put together a display that demonstrates what can be achieved when outdoor luxury fabrics and outdoor luxury furniture work in harmony”.

The RHS are committed to improving their sustainability practice, something that Oxley’s strongly backs. Sustainability is at the core of Oxley’s as a business. By using recycled aluminium, Oxley’s saves 95% of the energy needed to create new aluminium, and due to it being infinitely recyclable it can be used over and over again and won’t lose its quality.

To further their sustainable efforts, Oxley’s offers a unique buy back guarantee that allows customers to buy the furniture they want completely risk free. Once Oxley’s customers have owned their furniture for 12 months, Oxley’s will buy it back for half the original purchase price for the next 10 years. This is a wonderful example of a company working in a truly circular way and taking responsibility for the whole lifecycle of their products.

Oxley’s are delighted to be exhibiting at The RHS Chelsea Flower Show for another year. Please go and find them on stand SR132 and try out their luxuriously sustainable outdoor furniture.

For more information about Oxley’s please visit www.oxleys.com or contact them via [email protected] or 01386 701 894.

Cover image: Scroll sofa double set

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CDUK, the Leeds-based supplier of solid surface materials and complementary products, including Corian® Solid Surface, PaperStone® and M|R Walls, announces a partnership with surface manufacturer The Good Plastic Company.

As part of the new partnership, CDUK grows its surface material portfolio with the addition of Polygood, The Good Plastic Company’s highly sustainable surface material made from 100% recycled and 100% recyclable plastic. Produced from a wide range of post-consumer and post-industrial plastic waste sources, such as refrigerators to single-use cutlery, electronics and industrial consumables, the material can be used to create contemporary and environmentally conscious furniture, as well as interior or exterior design elements.

The Good Plastic Company was founded in 2018 to contribute to solving the problem of the 400 million tonnes of plastic waste generated annually, and with the aim to substitute virgin plastic and other non-sustainable materials everywhere possible, making recycled plastic a new norm in design and architecture.

Polygood panels are manufactured using responsibly sourced waste from a single type of plastic (PS – Polystyrene) to ensure circularity, quality and durability, as well as being waterproof and hygienic to suit a broad scope of applications. Polygood can be used as a structural material, it can be thermoformed to create curves, and CNC routed to add texture and further design features.

With the annual capacity to produce more than 50,000m² of recycled plastic panels in two factories in the Netherlands and Ukraine, the newly formed partnership provides architects and designers with a sustainable material that can be widely rolled out for large-scale projects in the commercial, office, hospitality, and healthcare sectors. Polygood is suitable for many vertical and horizontal applications, for both interiors and exteriors, including residential and commercial furniture, bathroom surfaces, washrooms (shower enclosures & vanity units), retail and exhibition plinths, counters, booths, signage, and lighting. With a Cradle-to-cradle certification pending, Polygood will help to achieve project credentials such as BREEAM and WELL.

In line with its current commitment to support designers and architects in their design journeys, CDUK delivers Lunch & Learn or informal CPD sessions for the A&D community to provide them with all the tools, product training and inspiration needed to design and create with its portfolio, including Polygood, as well as technical specification support and advice throughout the whole design process.

Andy Noble, Managing Director at CDUK, comments:

“This partnership marks another important step in our company’s journey, as it further demonstrates our commitment to providing architects, designers and fabricators with the best and most innovative materials on the market to deliver outstanding projects. Over the years, we have built a reputation as a trusted partner in the design process by offering our 40-year knowledge and some of the most durable and innovative surface materials on the market. As the industry moves into the next phase of sustainable design, we are proud to be the sole distributor of Polygood in the UK and Ireland to actively contribute to reducing waste and achieving net-zero targets.”

As part of the new partnership, CDUK and The Good Plastic Company co-curated two ranges of colours to respond to the market’s needs – the Core Range and the Bespoke Selection. The Core Range is a collection of twelve naturalistic and modern patterns available in a range of colour palettes. This range is designed to be aesthetically pleasing and sustainable, reflecting current trends to ensure the designs are stylish and modern. The Bespoke Selection includes 12 unique and bolder patterns, some of which are transparent or translucent and can be backlit or specified for applications including lighting or shower screens amongst others.

William Chizhovsky, the founder and CEO of The Good Plastic Company, says:

“We’re thrilled to start this partnership with CDUK. With 43 years of experience and a strong reputation to leverage, CDUK is a perfect match for our high-quality and capacity manufacturing and our diverse range of patterns. Together, we’ll continue to evolve the Polygood range to meet UK and Ireland customers’ needs in a key and fast-growing market for sustainable surface materials. We look forward to reaching more customers who share our vision of a sustainable future, and to making further steps towards achieving a circular economy.”

Polygood is available exclusively through CDUK in the UK and Ireland markets from 24th April 2023. All colours, panel sizes and thicknesses are available in stock.

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Clerkenwell Design Week returns to the streets of EC1 for another year of exciting product launches, talks, presentations, and exploration of a wide range of international designers, makers, and manufacturers.

As part of this year’s event, KI will be taking space in the grade II listed building and CDW 2023’s festival hub, Old Sessions House, on Clerkenwell Green. The main feature this year is KI’s latest innovation, Clubhouse, a flexible system of acoustic frames and panels that can create a variety of private and collaborative spaces. From individual phone-booths to larger meeting areas with advanced tech integration, Clubhouse has been designed to revolutionise the way we work and interact in shared spaces.

About Clubhouse

Clubhouse’s clean and contemporary design provides a modern and innovative solution that is both visually striking yet supremely functional. Situated in this traditional backdrop will showcase its versatility, demonstrating how it can be seamlessly integrated into any setting. The crisp lines of Clubhouse’s chamfered edges throughout the structured framework paired with 10mm glass panels will juxtapose uniquely against the rustic, raw plaster walls and original chandelier of the room, creating a spectacular contrast between old and new. Clubhouse’s innovative design will offer a glimpse into the future of workplace, displaying how traditional spaces can be transformed into practical and productive environments.

Speaking about the installation of Clubhouse in Old Sessions House, KI’s President for E.M.E.A, Jonathan Hindle, said, “We are excited to showcase Clubhouse in such a beautiful and historic space. The juxtaposition of the old and new will create a visually stunning statement that highlights its adaptability. We believe this installation will offer visitors a unique and engaging way of experiencing Clubhouse’s unique features.”

KI’s partners

KI has collaborated with Designers Guild to use their fabrics throughout the installation; chosen for their beauty, durability, and sustainability. A wide range of tonal neutrals, putty pinks, and accent crimsons in fresh linens and sheers have been selected to complement the modern design while adding warmth, colour, and texture to the space. Designer Guild’s commitment to environmentally friendly practices make them an ideal partner for the show.

Other products

KI will also be launching a Bruce Kenneth reclining chair and ottoman. Inspired by Brutalist furniture and architecture, the products have been designed with intentionally opposing smooth, organic curves and unnatural edges. Its realistic design doesn’t try to be too ‘statement’, but instead creates a timeless and practical product with seamless one-piece frame and legs.

Alongside this exclusive showcase there will also be a selection of KI’s most popular products to complete the scheme including Take5 Ottomans, 800 series storage, Grafton collection chairs, and Athens tables.

KI’s one-piece polypropylene Postura+ chair will also have focus on it as visitors are invited to explore its new colour palette and ongoing sustainability efforts towards a circular economy. The small gallery will also feature KI’s process for a new bi-product wood chip mix for Postura+ stools that reflects their commitment to eco-friendly design.

Don’t miss this opportunity to discover the future of open plan architecture and sustainable design with KI at Clerkenwell Design Week 2023.