On a global scale, we collectively consume a staggering number of chopsticks each year—80 billion pairs to be exact—many of which end up discarded in landfills and other waste sites. Since 2016, though, a Vancouver-based company has been upcycling the disposable utensils into a modern, minimal line of furniture and home goods.
A new video from Business Insider goes behind-the-scenes with ChopValue to chronicle the entire production process, which starts with collecting the free, raw material from about 300 restaurants around the British Columbian city. When they’re brought back to the plant, the utensils are sorted, coated in a water-based resin, and baked in a 200-degree oven for five hours to kill all germs. They’re then broken down and loaded into a massive hydraulic machine that compresses the individual sticks into a composite board, which finally is sanded and fashioned into countertops, tiles, and dominos, among a variety of other products. Since its inception, the company has saved nearly 33 million pairs of chopsticks from entering a landfill.
With three microfactories in Canada and retailers across North America, ChopValue’s footprint is growing, and the company is currently offering opportunities for franchises. Shop coasters, shelving, and other goods on the site, and follow product launches on Twitter and Instagram. (via The Kids Should See This)
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As a way to extend the floral designs woven into garments, Barcelona-based stylist Alexis Ferrer has developed a printing method that embellishes blunt bobs and Marcel waves with rich, colorful patterns inspired by the “best fabrics for the French bourgeoisie during the XVIII century.” The resulting series is titled La Favorite—it was photographed by Rafael Andreu and features models Emma Fuhrmann, Camila Ferreyro, and Patrizia Lombardo—and merges Baroque-style motifs with modern technology, marking blonde extensions with peonies, butterflies, and birds through a digital process that’s taken years to develop.
This current iteration is an expansion of a 2012 project that utilized black-and-white photographs from The Shining and Pyscho, although the methods have evolved with higher-definition printing and digitally generated inks in full color. “I must admit that the first impressions on the hair were a challenge. It took two months to get good results with high definition… Mixing technology with our knowledge of crafts has allowed us to recreate those wonderful patterns on the hair,” Ferrer says in an interview with INFRINGE.
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Whether subtly shifting from lemon balm to mint or more dramatically from chestnut to beet-soaked maroon, Little MOTHERHOUSE’s sweets are infused with elegant gradients that permeate both bar and packaging. The white-chocolate treats are produced from cocoa beans grown on a farm in Sulawesi, Indonesia, and then dyed naturally with fruits, teas, and other edibles. Their luxe aesthetic dovetails with equally sumptuous flavors, including black pepper yuzu, matcha raspberry, and cassis brandy, all of which coincide with one of Japan’s four seasons. Pick up a single bar, or more realistically try all 12, by heading to the designer’s shop. (via Present & Correct)
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“Sequins are synonymous with plastic waste,” says renowned designer Phillip Lim about an endeavor to combat the egregious amount of pollution generated each year by the fashion industry. He’s part of the 2020 cohort for One X One—a Slow Factory Foundation initiative that matches scientists and designers with an eye toward regenerative technologies, equitable production, and circular economy models—in which he collaborated with Charlotte McCurdy, a researcher who’s undertaken a variety of sustainable-fashion projects. Together, they created a luxe A-line dress covered in algae sequins that’s free from petroleum and other synthetic materials.
In their partnership, the duo drew on McCurdy’s process of pulling carbon from the atmospheric reservoir and binding the organic substance together with heat, a method she used previously to create a water-resistant raincoat made from marine micro-algae. The bioplastic then is poured into custom molds and emerges in sheets that the pair cut into long, arced sequins. Because the algae-derived substance wasn’t suitable for the dress form, Lim and McCurdy sourced a mesh base from PYRATEX, a Madrid-based brand specializing in a seaweed-and-bamboo fiber called SeaCell that’s both an antiperspirant and thermoregulating.
Speckled near the neckline with mother of pearl, the resulting dress is covered in the translucent green fringe, a color McCurdy derived organically from minerals. “The majority of our modern dyes and pigments are petrochemical in origin,” she told Dezeen. “But we had a huge, rich vocabulary of color before the Industrial Revolution that was not taking fossil fuel out of the ground, so I looked into traditional approaches to producing oil paints, which involved mineral pigments.”
Lim and McCurdy’s design isn’t for sale commercially but rather serves as a prototype for garment production in the future. For similar initiatives, check out the two other projects generated by the 2020 cohort, which include leather sneakers grown from bacteria and an apprenticeship in sustainable fashion for women from low-income and immigrant communities, on One X One’s site.
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Nestled in the mountainous region of Taipei’s Xindian district is a new home by Yuan Architects that mirrors the stately landscape outdoors. In “Lan Villa,” the international design firm constructed a central, curved wall that sweeps upward as it follows the two staircases from ground floor to ceiling. It mimics the roving scenery that can be viewed through the large, glass windows covering the back facade.
Cloaked in wooden slats, the striking enclosure spans all three stories of the 2,390-square-foot home, which features a kitchen, dining area, and large deck on the first level, main entrance and mezzanine on the second, and bedrooms on the uppermost floor. The bowed wall “represents the flow of life through an architectural structure,” the firm says in a statement about the project. “As a collector of seasonal changes outdoors as well as an interface of the living space, the wall reflects every variation of light and color on the rolling hills and casts different colors of light into the living space accordingly.”
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The First USPS Stamp Designed by an Alaska Native Artist Features a Trickster Raven as It Steals the Sun
When it’s released later this summer, a new stamp from the U.S. Postal Service will illuminate a piece of Indigenous culture that’s long been associated with an escape from darkness. Titled “Raven Story,” the history-making postage features an iconic animal rendered by Rico Lanáat’ Worl, who is the first Tlingit and Athabascan artist to be featured by U.S.P.S. Awash with twinkling stars, the stamp portrays a black bird grasping the sun in its beak as it breaks from its human family. The motif is based on the story of “Raven And The Box Of Daylight,” traditional Tlingit lore about the trickster animal bringing the stars, moon, and sun to the universe after a series of heists.
In a statement, Worl shares that the raven is a prominent figure in Tlinglit culture, and the stamp depicts the pinnacle of this often-recounted tale. He writes:
Raven is trying to grab as many stars as he can, some stuck in his feathers and in his hands or in his beak. Some falling around him. It’s a frazzled moment of adrenaline. Partially still in human form, as depicted as his hand still being human, as he carries the stars away. I think it depicts a moment we all have experienced, the cusp of failure and accomplishment.
Worl lives in Juneau, where he works with Sealaska Heritage Institute and co-runs Trickster Company, a design shop focused on Northwest Coast art, with his sister, Crystal. To coincide with the USPS launch, he plans to create pins, prints, and other goods featuring the design, which you can follow on Instagram. (via Hyperallergic)
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