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The world of design is constantly evolving, with sustainability and adaptability at the forefront. Jesmonite, a versatile and eco-friendly composite material developed in the UK in 1984, is rapidly gaining popularity across various creative and industrial sectors. because of its unique combination of durability, flame resistance, and impact resistance. Its ability to mimic a wide range of textures, its non-toxic nature, and its compatibility with recyclable components make Jesmonite an attractive choice for artists, eco-conscious businesses, and DIY enthusiasts alike, opening up exciting possibilities in design, construction, and beyond.

Flora by Sydney-based duo Préssec Design perfectly exemplifies Jesmonite’s capacity to blend function and beauty. This wall-mounted system cleverly combines a cork pinboard with hanging planters molded from Jesmonite as a respond to the need for functional and aesthetically pleasing home office accessories, which follows the rise of remote work. The innovative piece not only provides a space to organize tasks and reminders but also integrates a touch of nature into the workspace, transforming the home office into a more inviting and inspiring environment.

Préssec Design’s choice of Jesmonite for Flora’s planters is a testament to the material’s versatility. The Jesmonite is tinted with specks of color, creating a modern take on terrazzo, the Italian composite known for its unique visual texture. This aesthetic choice gives Flora a contemporary yet timeless feel. Originally conceived as a passion project during the lockdown, the designers first experimented with concrete casting. However, after perfecting the form, they embraced Jesmonite for its unique properties and potential for creating a seamless and visually cohesive design.

The design duo chose Jesmonite for the planters to achieve a seamless integration with the corkboard, creating the illusion that each planter is organically growing from the wall. The planters are held in place with decorative, customizable thumb tacks that latch to the corkboard, adding a touch of personalization to the design. The result is a system that is both functional and visually striking, offering a welcome departure from typical office organizers. The overall look embraces a sense of fluidity, enhancing the natural aesthetic of the corkboard and the greenery it supports.

The journey to the final version of Flora was not without its challenges. Maintaining the sharp edges of the concrete prototype when casting in Jesmonite proved to be difficult. After a period of research and prototyping, the designers eventually settled on a silicone mold to achieve the desired crispness and detail. As Préssec designers explain, “It took a lot of experimenting with the ratios of the different aggregates, but we got it to a point where we maintained the structure and kept the crisp edges of the design.”

Moving from the organized elegance of Flora, we now turn to the playful and experimental Puffy Brick counter, a collaboration between Swedish furniture brand Hem and London-based studio Soft Baroque. This project showcases a completely different side of Jesmonite, highlighting its capacity to be molded into organic, amorphous shapes. The Puffy Brick counter, with its seemingly inflated blocks, also demonstrates the material’s versatility and its ability to push the boundaries of traditional furniture design.

The Puffy Brick counter was born from a desire for experimentation, pushing the conventional uses of materials in furniture design. Soft Baroque founders, Nicholas Gardner and Saša Štucin, were drawn to the “experimental nature” of the commission from Hem. The project started with a pink version created for a pop-up store in London and later evolved into a sulfur-yellow version for Hem’s headquarters in Stockholm. The design juxtaposes a sturdy silhouette with what Hem describes as a “bubblegum look”. This playful tension embodies Soft Baroque’s unique design aesthetic.

The innovative production method is central to the counter’s unique appeal. Instead of traditional molds, Gardner and Štucin crafted the counter by injecting a liquid Jesmonite mixture into balloons, creating blob-like bricks. First, they built a transparent border to form a frame around a rectangular base. The filled balloons were then placed within the frame and left to set. Once solidified, these Jesmonite bricks were carefully removed, numbered, and then glued back together to create the final counter structure. This technique showcases how Jesmonite can be manipulated to create unconventional, organic forms.

The inspiration behind this unique technique stems from a trip to Naples, Italy, where the duo observed an old arch holding up a stone seawall. The material around each stone had been softened by the waves, giving them a rounded, almost cartoon-like appearance. This accidental decorative effect became the central idea behind the Puffy Brick, transforming a functional object into something decorative and almost comical. The design captures the essence of “unintentional progressive architecture.”

The Puffy Brick counter demonstrates how designers are constantly finding new applications for Jesmonite, pushing its versatility to create unique and eye-catching pieces. Through this innovative approach, Soft Baroque and Hem have managed to create a statement piece of furniture that is both playful and structurally sound, highlighting the potential of the material to create both whimsical and functional forms.

Terraform collection by designer Gavin Keightley project takes a radical approach to Jesmonite, using unconventional molds made from food to create unique textures and forms. The collection is a playful yet sophisticated exploration of material and form, pushing the boundaries of what is expected in furniture design.

Keightley’s design philosophy revolves around finding alternative applications for materials and processes, leading him to explore food as a sustainable alternative to synthetic mold materials. A failed attempt at cooking couscous sparked the initial idea, demonstrating how chance discoveries can lead to innovative design breakthroughs. This concept expanded into a broader investigation into how foodstuffs, with their unique textures and properties, could be used as molds for casting materials, offering a more sustainable approach to fabrication. His academic journey led him to focus on more eco-friendly alternatives to traditional materials.

The production process for the Terraform collection is as fascinating as the finished pieces. Keightley experimented with a variety of foods, including bread, couscous, and mashed potatoes, discovering how different consistencies could create varied textures and details in the final pieces. One particularly successful method involved using agar jelly, a material he could easily manipulate to create negative spaces by scooping out sections with a spoon. This created ideal forms for casting, with the jelly simply peeled away once the Jesmonite had set. This experimental approach showcases Jesmonite’s capacity to capture intricate details with precision.

Keightley’s choice of Jesmonite was deliberate. Its ability to capture the intricate details of the food molds, without reacting to the metal support structures embedded within some of the pieces, made it the perfect material for his project. Furthermore, Jesmonite can be dyed in a wide range of colors, including the vibrant fluorescent hues that define the aesthetic of the Terraform collection. The contrast between the organic shapes cast from food and the bright, modern colors creates an intriguing visual tension that draws the viewer in.

Designer Sarah Christensen has created a line of homeware that not only addresses the growing problem of coffee waste but also showcases the beauty and functionality of sustainable materials. Her work transforms discarded coffee grounds into a resource, proving that with creativity and conscious design, waste can be reimagined as art. Christensen’s collection provides a compelling vision for a more circular economy.

Christensen’s design philosophy is rooted in transforming overlooked materials into valuable resources. While the environmental impact of coffee is often downplayed, the methane emissions from coffee grounds in landfills contribute significantly to global warming. Christensen recognized the potential in these grounds, which still hold aromas, flavors, and the potential to be used as raw materials. To bring her vision to life, she combined spent coffee grounds with Jesmonite, an eco-friendly and non-toxic alternative to resin-based products, demonstrating the possibilities of transforming waste into beautiful and functional objects.

The production process involves casting coffee grounds into sheets, which are then broken into chips. These chips are used as a composite material, similar to terrazzo, within a Jesmonite matrix. Each product in her collection is approximately 40% coffee grounds and 60% Jesmonite. This method creates unique patterns and textures that add character and visual interest to the smooth surfaces of the objects. The result is a collection of homeware that feels both modern and rooted in the earth.

Christensen’s collection primarily focuses on plant pots, which encourage indoor gardening, promoting a lifestyle that reconnects with nature. She also creates candle holders and soap dishes, each designed to encourage a slower, more reflective approach to daily life. These pieces serve as gentle reminders to consider our impact on the world. The earthy brown specs of the coffee grounds create a unique aesthetic that brings a sense of warmth and authenticity to the modern minimalist forms.

Christensen’s commitment to sustainability extends beyond the materials used; she also envisions a circular life cycle for her homewares. Broken pieces can be repurposed as crocks for plant pots or even as building materials. This holistic approach to design and material use ensures that even after serving their initial purpose, these items remain part of a sustainable system.