Throughout its history, Spain has been shaped by a wide range of cultures and civilizations, including Muslim, Phoenician, Roman, Greek, Carthaginian, and Visigothic influences, which are reflected in its architecture and design.
"We met with linen and wool weavers and were blown away by the exceptional quality and beauty of the cloth they produced, as well as the depth of [textile] history in Ireland. We were in equal measure concerned by the decline in the number of weavers. They mentioned that they were losing out to cheaper cloth from abroad and that Irish buyers were few and far between."
Craft is often defined as skill in making things by hand, but this interpretation is being challenged by AI. Craft transcends physical interaction; historical figures like Mozart and Beethoven exemplify mastery without traditional methods.
In the nineteenth century, entire railway networks became obsolete almost overnight, not due to physical deterioration, but because of changes in the technical standards that supported them. The expansion of railroads across Europe and North America adopted different track gauges, and as a dominant standard gradually emerged, these infrastructures became incompatible with one another.
The advertising industry has always been in the business of making things, such as the OOH billboard, the 30-second spot, the snappy social post, the standard website: final, finite assets polished and pushed into the world. Agencies were paid, often by the hour, for producing final versions of these things and then moved on to the next project. Even with generative AI entering the picture, much of the conversation remains focused on making those same things faster or cheaper.
Rather than representing a simple return to the past, this renewed interest reflects a broader reconsideration of how architecture engages with materials, local resources, and environmental conditions.
Just like that coffee cup, eyewear is a complex fusion of materials. Metal hinges are screwed into polymer frames, which hold chemically-coated lenses. This mix of metals, plastics, and coatings means standard sorting machines cannot process them. As a result, they are rejected as contamination and sent directly to landfills, where they contribute to non-biodegradable waste. Unlike a disposable paper cup, however, a pair of sunglasses is built for durability. Its high-quality components make it a perfect candidate for repair, reuse, or reinvention.
Each piece begins with used coffee pods collected from my community, materials that were never meant to last beyond a single use. Before any design work begins, the pods must be cleaned, sanitized, flattened, cut, folded, and shaped entirely by hand. They arrive dented, stained, and inconsistent, carrying the marks of their previous life. Learning how to work with those imperfections, rather than erasing them, was one of my first challenges.
It's likely that you've encountered recycled glass countertops without realizing it. They're far from the hippie-style broken-glass mosaic art of yesteryear, instead presenting as sleek, highly polished, professional slabs with intriguing bits of confetti-style color trapped inside. That's the recovered glass bits set into a binding material such as resin, cement, or concrete, and then smoothly polished so that the composite surface feels like stone.
Tons upon tons of these single-use plastics end up in landfills or even floating in the ocean. Spanish design firm PET Lamp set out give another purpose to these otherwise short-lived materials. Partnering with artisans in communities from Chile to Ethiopia to Australia, the company celebrates both Indigeneity and sustainability, drawing upon time-honored global craft traditions while supporting local economies and recycling discarded materials.
We can make changes to reduce our waste by precycling when we shop, reducing what we purchase, reusing items to get the most use out of them, and recycling when possible. But when we have items to throw away, please dispose of trash responsibly and don't litter. Let's reduce our waste and clean up our planet. It's our only home.
It is not about reproducing the past but about engaging in dialogue with it. We apply the same level of care and rigor to all pieces. Many of our utilitarian pieces have a strong sculptural quality, and several of the more artistic works originate from everyday forms and functions. We do not establish rigid boundaries between these categories; all are part of the same vision.
This research-based design project by Laura Oliveira investigates discarded as a potential raw material for sustainable design applications. Human hair is produced continuously and in large quantities through everyday grooming practices, yet it is almost always treated as waste once separated from the body and typically disposed of in landfills. Despite its material properties, strength, flexibility, and durability as a keratin-based protein fiber, its remains uncommon within design and research contexts.
Europe's supermarket shelves are packed with brands billing their plastic packaging as sustainable, but often only a fraction of the materials are truly recovered from waste, with the rest made from petroleum. Brands using plastic packaging from Kraft's Heinz Beanz to Mondelez's Philadelphia use materials made by the plastic manufacturing arm of the oil company Saudi Aramco. The Saudi state-owned holding opposes production cuts under the UN plastic treaty and is the world's largest corporate greenhouse-gas emitter (over 70m tonnes up to 2023).
When was the last time you saw an ashtray filled with stubbed-out Marlboros at a friend's apartment? At a restaurant? For some of us, the answer may very well be "never." Maybe that's the charm of the International Museum of Dinnerware Design's new exhibition on ashtrays - invoking an era before health codes and Mayor Bloomberg. Or reaching back even further, when you might see a Similac-branded ashtray in the office of your OB/GYN.
