EDGE Launches Sustainable Online Marketplace

Due to the demand of eco-friendly materials in the building and interior sector, EDGE launched the marketplace to guide traffic of sustainable shoppers for home projects or large-scale construction builds to one destination where they can browse multiple brands across a variety of categories.

It accompanies EDGE showroom in Marylebone where most items can be seen, felt and tested before buying online.

To find out more, please visit www.edgelondon.eco

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KI has confirmed that Postura+ will begin a transition to a circular economy, with all one-piece chairs manufactured from December 2022 set to contain at least 30% recycled polypropylene.

Following over 3 years of trials and testing, this achievement sets an important milestone on KI’s journey towards taking a leading position in the circular economy. Over the coming years, KI will work towards increasing this percentage to future milestones 50, 80 and ultimately 100%, bringing all standard colours into line with the increasingly popular Jet Black chairs which are already made with 100% recycled content.

The unique, UK-based supply chain development will see 600 tonnes per year of waste plastic being fed into the standard production process, the equivalent of over 2,000,000 food containers per annum. These new mixed virgin/recycled polypropylene chairs have been rigorously tested and have achieved the same certifications and standards as the fully virgin plastic chairs, so the unparalleled, proven Postura+ 20-year warranty remains in place.

Jonathan Hindle, President, KI EMEA comments: “We manufacture approximately 400,000 one-piece Postura+ chairs alone each year, making it one of our most successful and high-volume product lines. Eliminating 600 tonnes of virgin polypropylene from this supply chain demonstrates our commitment to realistic, impactful steps towards sustainable practices, without compromising colour options, quality, durability and warranties.”

Jeremy McWhinney, KI’s Finance & Operations Director adds: “Whilst other products in our lives have been able to utilise recycled polypropylene for years, they are routinely single or limited use items – Postura+ chairs must withstand the toughest learning environments for decades. The testing and production processes involved have been years in the making, and we look forward to continuing our journey towards our ambition of 100% recycled content in the future.”

This innovation in Postura+ chair production further enhances the product’s environmental performance, outlined in its independently verified Environmental Product Declaration (EPD). Manufactured in the UK, these chairs are transported in 100% recyclable packaging, and are themselves 100% recyclable at their end of life.

Alison Mallett, KI Europe’s Director of Education Furniture comments: “Our customers both in the UK and across Continental Europe are looking for ways to reduce the environmental impact of their procurement practices, without adding unrealistic cost or compromising quality. What we’ve managed to achieve with Postura+ chairs is a fantastic step in the right direction and we are confident that this exciting news will be met with great enthusiasm from our customers.”

As biophilic design grows in popularity (no pun intended!) so does the number of interior projects where clients request a green ‘infusion’ in their refurbished homes.

As a biophilic design studio, Oudejans Interiors feels it’s vital to live more sustainably and regularly draws upon the proven benefits of nature as a key design element to create exquisite and enduring residences.

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The Sustainable Design Summit (SDS) brings together brand owners, designers, and trusted suppliers from across cruise, hotel, and aircraft interiors to cross-pollinate ideas alongside leading sustainability experts.

Taking place on 29 November 2022 at The Brewery London, SDS is the first event of its kind to unite these three sectors to discuss sustainability as it dominates conversations and market drivers.

In just one day, delegates will gain actionable insights from the panels of experienced practitioners, discover a showcase of intrinsically green products, and come away with a framework for tangible steps to take into their next interior design project.

This week’s instalment of the Project of the Week series features a hotel design by 2022 SBID Awards Finalist, YANG.

What was the client’s brief? 

The hotel is located in Nanjing Tangshan Garden Expo, covering an area of 13,745 sq.m. YANG took over the project in June 2020 and completed it within a year. The design team had two major tasks: to create a unique space experience, accurately interpreting Indigo’s neighborhood culture and making the hotel stand out from competitors in the area, and to deliver the spirit of the place through the design with local characteristics, thus drawing attention to the issues concerning the protection of the geological environment in Tangshan.

What inspired the design of the project?

Tangshan is rich in geological resources. In a one-kilometer radius, there are mine pits dating back over a millennium, abandoned quarries and national geological parks. Since the Indigo brand is always at the heart of closely related neighborhoods, the design team has conducted a thorough geological and cultural investigation of Tangshan and drawn on Tangshan’s original environmental features. Inspired by Tangshan’s mineral ore, the team decided to make it the theme of the space. The design team hoped to inject new vitality into the old mine pits and arouse people’s awareness of the issues related to natural recovery and ecological sustainability.

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

It is the first time that the Indigo brand has entrusted a design team with telling Indigo’s neighborhood story. The team had only one year to work on the project, from the design concept to implementation. Within the limited time, the team managed to create a unique space experience, accurately interpret Indigo’s neighborhood culture, and enhance the competitiveness of the hotel. Since its opening, the hotel has stood out from its competitors in the area and earned a reputation for its distinctive theme, exciting experiences, and neighborhood story. Moreover, the hotel is widely loved by guests and highly praised by the hospitality industry, becoming a must-visit place in Nanjing.

What was your team’s highlight of the project?

The design is realized through the innovative concept, rich colors, and special materials. The adoption of colorful glass, metal mirror and acrylic create a forest-like mood in the lobby area. The design of the lobby bar and the ADD restaurant is inspired by bonfire, miner’s lamp, and the arc shape of the tent, creating a cozy and inviting atmosphere. The lift lobby and the corridor are transformed into mini exhibition halls showcasing exploration tools. With the theme of “natural recovery,” the guest rooms bring forests, plants, and mosses inside. The minibars and nightstands in the guest rooms are in the form of mining toolboxes, blended into the surroundings.

Why did you enter this project into the SBID Awards?

The SBID International Design Awards is one of the world-acclaimed awards for design excellence. This annual event offers a unique opportunity to meet creative professionals and provides a perfect platform for all entrants to learn from each other and, especially for entrants from China, to promote their works on the SBID Awards’ globally respected stage. We are honored that YANG has become a finalist with the project Hotel Indigo Nanjing Garden Expo and that this project entry has been selected to feature as one of the popular “Project of the Week” stories on the SBID blog. Thank you for the recognition. We will bring the industry more outstanding works. Let’s look forward to it!

Questions answered by Yang Bangsheng, Founder and President, YANG & Associates Group.

Siminetti has announced a partnership with Plastiks, whose mission is to connect people around the world to fight global plastic pollution. Plastiks is a recovery-guarantee marketplace that enables sponsorship of projects in a new initiative to help reduce plastic waste in the environment. In line with its ethos to produce products that are sustainable and natural, Siminetti, is working with Plastiks to prevent plastic waste from invading the oceans, while improving the quality of life of local communities involved in collecting plastic.

Siminetti works with the world’s leading interior designers, architects and private individuals to offer Freshwater and Saltwater Mother of Pearl luxury mosaics and decorative panels in a range of colours, styles and patterns. Their Saltwater pearl is sourced from Pacific communities who depend on sustainable relationships with ocean lagoons; the shells are a bi-product of the food and pearl industry, which Siminetti sources directly, using shells that would otherwise be discarded.

Under the Plastiks initiative, for every m2 of Siminetti product sold, a kilo of plastic will be recovered from the ocean, which provides communities with additional income, while creating a circular economy model, around recycling the ocean harvested waste and upcycling it into new products.

Plastiks launched earlier this year as the world’s first utility NFT dedicated to revolutionising the fight against plastic waste. Each NFT created uses data to certify that a corresponding amount of plastic has been recovered, thus ensuring that it does not end up in the environment.

About the project

Siminetti has chosen, via Plastiks, to specifically support the Second Life project; a social enterprise in Southern Thailand that teams up with coastal communities to collect plastic waste from the sea. The objective is to provide those communities with additional income, while creating a circular economy model, around recycling the ocean harvested waste and upcycling it into new products. It’s known that plastic can have many lives beyond the single use given to it and that’s the goal of Second Life project, which aims to maximise social impact by engaging in geographies where waste infrastructure is underdeveloped.

All of these environmentally beneficial investments are showcased using Plastiks’ Sustainability Dashboard, a real time view of plastic recovery that clients can view via the Siminetti website. Clients will receive a certificate that provides information about the amount of plastics recovered by the project on their behalf.

Simon Powell, CEO of Siminetti, said: ‘Our collaboration with Plastiks represents an additional and powerful step in our joint goals of sustainability and regeneration. In conjunction with Plastiks and our chosen project, Second Life, we have a unique opportunity to reveal the value of plastic, share this with our clients and together make a direct impact in the effort to stop ocean plastic pollution.

The NFTs allow our clients to directly contribute to the global fight against plastic waste and improve the lives of the people on the ground. I am immensely proud that Siminetti is able to work with these groups through this fantastic project’.

Andre Vanyi-Robin, CEO of Plastiks, said, ‘We’re delighted that Siminetti has chosen Plastiks to help it lead the way in sustainable living and plastic recovery. We hope to expand our network of companies across the globe who are dedicated to reducing the amount of single-use plastic ending up in the environment, while enabling them to demonstrate to their stakeholders that they are fully committed to tracking, measuring and fighting plastic waste’.

Siminetti is committed to the climate action agenda and this initiative with Plastisks allows them to address plastic pollution as part of their sustainability journey. The company will now have its positive footprint recorded and openly available in the marketplace, to be shared with its customers and the global community.

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Considering the fact that carbon emissions from buildings and construction constitute almost 40 percent of global carbon emissions, knowledge of a building’s environmental impact is becoming key to enable the construction industry to work towards the necessary green transformation. Accordingly, a number of states have already established national lifecycle carbon limits for new or public buildings. Some states require carbon reporting as a minimum standard, while others have generally enacted more stringent requirements for new construction projects.

Environmental Product Declarations (EPDs) are considered by the European Commission as a suitable means of evaluating the sustainability of a building since the materials and products used in it significantly determine a building’s impact on the environment. In order to provide its customers with transparency regarding the ecological footprint of its products, the sanitary brand GROHE will release EPDs for 18 product groups that cover more than 600 single products by the end of October. The first batch, published at the end of July 2022, includes basin and kitchen mixers, thermostats, and shower rail sets. A second wave will follow by the end of October 2022 and will comprise special fittings, hand showers, installation systems and flush plates.

“With the launch of EPDs for a wide range of our portfolio, we offer our customers easy orientation and transparent comparison options with regard to the life cycle assessment of our products. On this basis, they can make informed statements about the environmental impact of buildings, which is often a cornerstone for sustainability certifications such as DGNB, LEED or BREEAM, or even a prerequisite for new building permits in many European cities. With increasing pressure on the construction industry to make buildings ever more sustainable, information of this kind will be a selection criterion for products in the future, on a level with price, design or quality,” says Jonas Brennwald, Leader, LIXIL EMENA.

Transparency to promote sustainable construction projects

An EPD is a comprehensive, independently verified, and registered product pass. It reports transparent and comparable data on the environmental impact of a product’s life cycle (Life Cycle Assessment). The life cycle is considered from the extraction of raw materials through to production then the use phase to disposal, including the impact of the individual transport routes. Tomas Kvillström, Leader, Commercial Regulation, LIXIL EMENA underlines how important it is to analyze a product’s entire life cycle: “We also looked at the usage phase, which has sometimes been neglected by the industry in the past. The long use phase of our products is the main driver for water and energy consumption and therefore a crucial piece of information for building management companies and hotel operators in particular. However, this knowledge is not only elementary for our customers, but also a good benchmark for us to further increase the sustainability of our value chain and products.”

Environmental Declarations are based on the international standard ISO 14025, and with regard to the construction industry EPDs are particularly based on EN 15804 for construction products, services and processes.

Significant building block in the sustainability strategy

Today, the focus for sustainable product requirements is primarily on Global Warming Potential (GWP). Through the collection and validation of EPD-relevant data, GROHE is striving to develop increasingly low-emission product strategies in the long term while continuously improving its own carbon footprint. Potential for improvement could be identified, for example, in aspects such as sourcing materials closer to the plant or strengthening GROHE’s approach to green transportation. Since 2020 all eight LIXIL fittings plants, including the plants in Hemer, Lahr, Porta Westfalica (all Germany), Albergaria (Portugal) and Klaeng (Thailand), along with Jiangmen

(China), Danang (Vietnam) and Monterrey (Mexico), where GROHE products are also manufactured, as well as the German logistics centres, are CO2-neutral. In 2021, the European outbound logistics became CO2-neutral. All fittings plants and German distribution centers have switched to green energy. The collected EPD data shows CO2 peaks and can therefore support the goal of further avoiding and reducing emissions, and also in turn minimize the share of compensation to be paid. As a brand in the LIXIL portfolio, which is a Japanese manufacturer of pioneering water and housing products, GROHE’s efforts contribute to the corporation’s goal of achieving net-zero carbon emissions by 2050. “To preserve our planet, we need to change the way we create our built environment. We welcome EPD as the industry’s ‘new normal’ to foster the transformation towards low environmental impact and low energy consumption projects. They are the prerequisite for sustainable, future-ready building concepts,” says Jonas Brennwald.

Cover image: GROHE Eurosmart Kitchen – Cradle-to-Cradle Certified Gold Level

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In this week’s interview with SBID Awards Product Design judge Co-Founder & Director of Accouter Group of Companies, Stella Gittins discusses the power of design, Accouter’s journey towards becoming a B-corp and talks about the increasing consumer focus on the ethical and sustainable sides of business.

How would you define the power of design?

Design has the power to influence the future, whether that be through innovation, sustainability impacts or the drive for change. Design has the ability to re-imagine what we think we know, and for me, the power of good design is the unity of beauty and functionality. It is courageous in its input and modest in its output, and good design is never out of fashion.

Accouter have recently applied to become B-Corp certified. What will this important certification mean for your business and your clients?

As a future-focused collective, we realised how much difference we could be making on eco and social levels. The first lockdown taught us that even taking small steps to make a change will eventually lead to a more significant impact on healing the planet. Becoming more eco and socially conscious for many in the team was an essential drive for change. So instead of sustaining and maintaining our performance, we prioritised plans to regenerate and commence a never-ending journey towards ‘sustainability’.

According to Forbes in 2021, “Generation Z (’97-’12) along with Millennials (’81-’96) are more likely to make purchase decisions based on values and principle.” Therefore, commercially we must also be future-proofing ourselves as an industry as the more sustainably conscious generations start to hold the purse strings. Obtaining our B Corp accreditation through initiatives with our teams, customers, supply chain, the wider community and by being transparent and accountable will undoubtedly build that critical trust factor within our business and clients for the future.

When thinking about the future of interior design, what are the key factors driving industry development?

We have lived through, and are still living through, a significant period of re-adjustment that brings a new meaning to and re-orientating our life perspectives. Affiliation with nature and well-being has become a fundamental concept in our way of life. So much so, we have already noticed this drive for change in how we can design a space that incorporates elements for a positive mental and well-being outcome.

Likewise, sustainability is a key focus for industry development. I recently read that 22 million pieces of furniture are thrown away every year in the UK. The shocking stats made us think, “we can do better.” Customers increasingly want a product sourced from ‘responsible’ suppliers and are interested in full traceability on the supply chain offering ‘responsible’ products. Much like our clients, we are investing in the future. Our dedicated ‘Eco-Warrior’ team are directing their efforts on measures that deliver the biggest impacts, with an emphasis on minimising any destructive environmental impact.

When it comes to product specification, how far do environmental considerations influence your design process and buying decisions?

Increasingly, we are actively educating our supply chain on the B Corp Movement. Although we have just started this journey, we are actively on a mission to collect data from our supply chain and environmental credentials of the products we are procuring, intending to deliver on our ambition to source 100% from responsible suppliers.

Launching this year, we will use the Environmental Icons to badge products within our BoxNine7 Curated Furniture Packages service and Bazaar’s e-commerce range. The Environmental icons cover everything from ethical design, FSC Timber and fillings to recyclable packaging. Not only does this influence our design process, but it provides our clients with clarity surrounding terminology and confidence in what they are buying. Our new badging process will assist in educating us all, and over time we are looking to achieve 100% traceability across the AGC collective.

Finally, what advice can you give to designers entering the SBID Awards?

My advice would be not to hold back in your entry and share as much as you can about your project. We have been on such a journey the last couple of years, and we need to celebrate the successes we’ve all had during this time!

Questions answered by Stella Gittins, Co-Founder & Group Director, Accouter.

In this week’s interview with SBID Awards Interior Design judge, Chief Executive at the Design Council, Minnie Moll discusses how the interior design industry can work towards combating climate change and the importance of good design, sharing details about the Design Council’s mission toward more sustainable design practices.

How would you define the value of good design? In what ways can it enrich our lives and enhance user experiences?

Good design makes life better. It makes things easy, attractive, comfortable, beautiful. And often inspiring and joyful. You don’t always notice good design. It’s bad design that gets noticed because it doesn’t work, or it’s ugly. Good design is inclusive design and people centred.

The Design Council launched its’ mission, ‘Design for Planet’. What does this initiative aim to achieve, and how can designers get involved?

The climate crisis is the biggest challenge of our era. Design has been part of what got us to this place and it has a critical role to play in achieving net zero and beyond. Our Design for Planet mission seeks to support and galvanise the 1.97 million people in the UK design community to put planetary concerns at the heart of their work. Design shapes the world we live in, and designers have huge power and responsibility to use design as a force for good.

What are some of the key ways the interior design industry can work to combat the impacts of its operations and meaningfully address climate change?

It starts with the brief. Give the planet a seat at the briefing meeting and make sure planetary needs are considered. Being informed and intentional about use of materials – hard to keep up to speed on this I know. Thinking in a circular economy way. How long will this last? Can it be modular and easier to fix/update/refurbish? Understanding the supply chain and sustainability implications of all the elements of a proposed design.

How important is the role of an interior designer when it comes to influencing consumer lifestyles and driving the future of our built environments?

The interior design of the places we live and work has become even more important since covid. We understand even more how important it is for our homes to be a sanctuary – a comfortable and relaxing place to be. And in a hybrid world our workplaces need to be attractive, enjoyable and magnetic places that colleagues want to come into. In both instances great interior design can be sustainable and attractive and aspirational.

Finally, what advice can you give to designers entering the SBID Awards?

If design shapes the world, then the design of the spaces where we live, work and play has such potential to shape how we interact with each other, and how we feel. It can inspire and bring joy. These exciting and high profile awards are a chance for the best design to shine so it’s important to showcase the value your entries provide and explain key design considerations clearly.

Questions answered by Minnie Moll, Chief Executive, Design Council.

In this week’s interview with SBID Awards Product Design judge and Associate at SHH, Tony Duesbury discusses the nuances of designing for commercial and residential spaces. He shares his insights on designing guest experiences and how hybrid ways of working are changing the interior design scene.

How does interior design help to curate greater guest experiences within the hospitality industry?

Every hospitality project is unique and a distinct design narrative allows the opportunity to curate a guest experience. Interior design can help generate interest by creating “a narrative” that helps people engage with the space and learn more about where they arrived creating a ‘sense of place’. This placemaking curates the experience and makes the guest experience more personal.

We have done this in a recent brasserie where the details of the wall panelling took inspiration from the 1970’s façade of the building that was removed, enabling the staff and guests to talk about where the interior inspiration came from. This design curation helps discussion and the engagement between staff and customer to enable a unique personal experience.

When considering the future of the built environment, how do you incorporate sustainable design principles into your projects, from design to procurement?

Our priority when considering the future of the built environment is to look at all aspects of the environmental issues that may affect a particular project and determine what best fits the project. Whether it is creating more greening, checking the carbon footprint of materials procured or considering the MEP to be implemented. As a first step towards achieving that we will look into forming collaborations with consultants and suppliers who have a relevant approach that is beneficial to the process. We will look at individual suppliers and the principles they have in sourcing and manufacturing their materials. Buying local materials and finding unique local craftsmanship within the project vicinity is obviously a huge consideration in order to reduce the transportation carbon footprint.

When it comes to product specification, how does your approach differ between commercial and residential spaces? What are your key considerations?

The selection of materials will be different when it comes to addressing a residential project compared to a commercial project. This is due to two aspects, firstly, cost is a huge factor in. Residential schemes are led more by the heart, whereas commercial projects are led more by the purse. Secondly, it’s about the traffic of a space. Residential schemes can have more luxurious materials that don’t need to take the same wear and tear that commercial projects do. The high footfall in commercial projects, however, means that the durability of the base palette has to have longevity and accents that are easily replaced can have that more luxurious touch.

With new consumer lifestyles and hybrid ways of working, how do you see the design of workspaces evolving in the coming years?

This is something like everyone we have been keeping an eye on as it is an evolving discussion that has yet to settle and likely to be a debate for years to come. Most recently the hybrid way of working has changed by introducing more technological elements that enable a seamless change from working at home and then back in the office. The largest shift is really going to be about creating staff retention by giving those unique offerings within the public office space to engage people to want to be in the office. For instance, in a recent project we have been looking at weaving in the local community and creating more opportunities for social interaction. Additional opportunities for offering amenities within communal space benefits peoples busy life styles and will have an increase in staff retention. As well as a way of attracting new talent.

Finally, what advice can you give to designers entering the SBID Awards?

My advice would be to remain very concise about their design proposal and communicate all aspects of the idea, story and design detail as clear as possible. It is important that the descriptive narrative conveys the same message as the visual design and both are coherent with each other.

Questions answered by Tony Duesbury, Associate, SHH.