Posts tagged with "Textiles":

New life for fibres

New contest on Desall.com: dbt FIBRE and Desall invite you to suggest new applications for the semi-finished textile products, exploring fields other than yarn making or similar. You are invited to suggest new contexts of use and applications for the semi-finished textile products by dbt FIBRE, suggesting markets where the company has not yet entered, exploring industries other than textile, yarn-making or similar, taking into consideration the technical characteristics of the fibres and their processability. For more info: https://bit.ly/dbtFIBRE Contest timeline Upload phase: 21st May 2019 – 12th September 2019 (1.59 PM UTC) Client Vote: from 12th September 2019 Winner announcement: approximately by the end of November 2019 Total awards €4000 Participation is free of charge and open to all creative people (at least 18 years old). dbt FIBRE For over 80 years world leader in the utilisation of textile fibres, dbt FIBRE combines the most advanced textile technology with specially modified machinery to offer a wide range of carded sliver and combed tops for classic and fancy yarns. Carded slivers for neppy yarns, flamed slivers for Tweeds, natural fibre tops made from modified fibres such as flat section viscose are the core of our knowhow. DESALL Desall.com is an open innovation platform dedicated to design and innovation, that offers to companies a participatory design tool involving in the creative process an international community coming from all over the world. To date Desall gathers more than 100000 creatives from over 210 countries and has collaborated with international brands like Luxottica, Whirlpool, Electrolux, ALESSI, Enel, Leroy Merlin, KINDER, Barilla, illy, Chicco, Mondadori and many more. Thanks for the contamination of different cultural backgrounds and creative industries, the Desall community is able to provide high-quality project solutions for every product development phase requested by the client, from concept to product design, from naming to packaging.
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Artist Eric N. Mack lets textiles take over the room at the Brooklyn Museum

Eric N. Mack’s paintings and sculptures assemble sundry found materials with traditional media to establish a complex dialogue between material and subject that questions existing definitions of form, function, and style. Following solo exhibitions at Albright-Knox in 2017 and Simon Lee Gallery in 2018, Mack was invited to transform the Brooklyn Museum’s Great Hall with a site-specific installation of his textile-based works. The result, Eric N. Mack: Lemme walk across the room, invites a discussion on the fundamental components of aesthetic vision and the mercurial relationship between visual culture and everyday life. Positioned at the intersection of art, fashion, and architecture, Mack’s work reveals an array of unexpected connections and contradictions. A discussion with the artist on the installation and his practice provides a glimpse of his creative processes and wide-ranging interests. The Architect’s Newspaper: Were you responding to specific elements of the classical architecture of the Great Hall? Eric N. Mack: Yes. The space has no corners. So, I felt like I wanted to build a painting structure that would embrace this architecture, that would be contingent on the architecture, and would change the way that people engage in the space and see the space from a given vantage point. But I chose the fabric because it was slightly transparent, so it wasn't about opaqueness, or an immediate opaque gesture, but rather a gesture that deals with transparency in the space. So I was thinking about an overlay or patterns that could flatten out as a decorative point, but through their depth create some markers of distance and closeness. AN: In a lot of your past interviews and articles on your work, the authors always talk about how you grew up in Washington, D.C., and went to the National Gallery all the time because your parents worked there, and I thought it was really fascinating that your dad built vitrines and was an interior designer for the exhibitions there. Did that have any impact on your process for creating this work? EM: I mean I think there's a lot about…generous museum experiences. And how those moments really resonated with me, not necessarily just at the Brooklyn Museum but any museum experience. I'm just thinking about an exalted moment of viewing artwork. Some of the most dynamic experiences had to do with really feeling the length of the room and really understanding the impact of my body in the space as a viewer. Almost like a dream—like a way of seeing an artwork that is almost in between installation [and painting] or something like that. So you end up really focusing on this moment of engaging points of measurement or exchange between you and the artwork. AN: Yeah, that sort of leads to my next question, which is about the title; obviously it's an imperative for you to follow along the boundaries of the white, horizontal paintings, but it also sounds like a larger, more conceptual grounding for the entire installation, and maybe a specific aspect of your practice, in a way. Would you say that's a correct reading or is there another reason you felt that title was the most appropriate? EM: When I choose a title there are probably at least four different ways that point me to that place again and again. First, I wanted there to be almost a performance prompt for the viewer. But it also has this personalized position in which people have to determine whether it's about me or it's about them. And maybe it's about both of us. [It’s also about] questioning frameworks, breaking down frameworks and creating new ones that are maybe less familiar. But I also love that [the title] almost alludes to a runway show, at the base of it. The fact that there will be a personal impetus for a runway show or catwalk show. And that's something that I'm still unpacking. AN: You also have a very strong collagistic impulse. Why do you find it necessary or how would you describe it? EM: I think this show deals in collage in many ways…I think garments are naturally related—or congruent—to collage. The intention around stitching or the suture ends up being a possibility for a felt, dynamic place of legibility. It ends up being a space that is specifically about the reconstruction of form, and maybe a critical deconstruction in a way, for the moment of reconstruction. So, there are several different points that I think speak to a linked or connected language. A lot of times I feel like the properties of a work have to be turned inside out to understand what they are presently, and what they were. So, I think to be able to show that I think is a really generous end or offering to the viewer. AN: So this question may or may not be interesting, but when I went, there was a guard standing right in the middle of the installation. Do you have any thoughts or feelings about that? I assume you didn't have too much say over their presence. EM: That's awesome, I like that. I mean, I think the guards are people that are usually supposed to be invisible. I just think that all the corners are super active, so it's not a place where they could necessarily… AN: Disrupt anything. EM: Exactly. AN: But I still felt their presence still as I was moving through. EM: Me too, actually. Yeah, that's always an equation that could easily be overlooked. Even by the viewers themselves, the fact that there are people who could potentially be experts in the work besides the artist, the security guards—if they're paying attention, [and] I'm sure they are. AN: Did you use any specific elements to the large collage on the right wall specifically for this show? Or was it kind of an assemblage you already had? Kelis stands out to me. EM: Yeah, she's amazing. AN: I mean Kelis is associated with New York, but not all of the elements are. EM: Exactly. And I love that because it's really about a time and space. I mean I talked about them before as hyperlinked material images. But there's a lot of ways to read it. There's a kind of elegy to Phoebe Philo, Céline. The title is Tartan Film Strip from 1987 Till Recent. And thinking about the space of the grid as being the space of representation first and then it also being a place for points of reconnection, dislocation, or rupture, basically. AN: Yeah, which is a very painterly concept I feel like. I know you're a painter. EM: Definitely. I move forward or away from those… AN: Traditions? EM: Yeah, or that definition, all the time. But yeah, I think the narrative of the piece generally has to do with points of comparison. Somehow below the horizon line there's a lot more vintage materials. Some of the images are from Interview magazine from 1987. AN: Which is the year you were born. EM: Exactly, yeah. There are these archetypal ways that these women were being photographed, that fashion existed within the image but it was mostly about their gaze and their contact. AN: How they were presenting themselves. EM: Exactly. I mean like Janet Jackson definitely—the album called Control is very much about one's authorship in [their] control of their career, their bodies. AN: Do you ever put in personal effects? Was there a picture of you? EM: Yeah. It’s from the first time I went to Europe and I was 14. But it also sits on the opposite end [of the collage] as Isa Genzken, an image of a sculpture she made [Slot Machine, 1999–2000]. And that was kind of a point of validation for me, with her portrait—there was definitely a way and a manner to the work that I feel like could relate to Isa's work. And I didn't want to diminish that or go away from it, but perhaps use it as content. Isa's last show [Isa Genzken: Retrospective (November 2012 – March 2014) at the Museum of Modern Art, New York] was also sponsored by Céline. AN: Oh really? I didn't know that. EM: And I always loved that because I felt like they’re adjacent. Like, there's these two adjacent industries that end up supporting one another in various ways that are highly aesthetic. Eric N. Mack: Lemme walk across the room is on view at Brooklyn Museum through July 7.
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London-based researcher brings architecture to life—with billions of bacteria

Bacteria often evoke a destructive image, with connotations of decay and illness. But like all living communities, as much as they consume, they also create (or, perhaps more accurately, excrete). And it's this creative power that London-based architectural researcher Bastian Beyer is harnessing in his “Column Project.” With designer Daniel Suarez, Beyer has created solid, structural forms from microbe-suffused textiles as a more sustainable, biodegradable alternative to carbon-intensive materials. The project's central innovation is a dual-use apparatus that combines a loom and a so-called bioreactor. Woven jute (tested in many patterns and weights) acts as a host for a whole environment of sprayed-on microorganisms—a microbiome—clinging to the textiles. The introduction of calcium chloride and urea spurs the sporosarcina pasteurii bacteria to action, catalyzing their production of a calcite structure that alters the underlying fibers and solidifies the knit matrix over about three days.These microbiomes are in constant (biological) exchange with their environment which varies in their activity depending on external and internal conditions,” said Beyer, speaking of the ways the environment, bacteria, and material interact. While the textile structure doesn’t have the strength of materials like carbon fiber or fiberglass, it still stands solid and can be used for “spatial dividers, shading features, reinforcement, and potentially even structural roof or wall systems,” according to Beyer. Given its unique biologically-focused design, there’s also the hope that it might be a self-repairing technology. Somewhat cryptically, or poetically, depending on your disposition, Beyer said that “the project can be understood as an architectural mediator of a multi-actor fabrication process, allowing the interdependent inputs from the digital, the microbiological as well as the human body to merge into one co-creating entity.” It collapses distinctions of biology and technology, of craft and natural processes. The project, which won a 2018 Autodesk ACADIA Emerging Research Award, is part of the broader ArcInTex initiative, a European program that supports explorations across the intersections of “architecture, interaction design, and textiles.”
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House of Peroni popup brings Jenny Sabin's textile tubes down to Earth

The 2018 House of Peroni art popup is now open to the public, and at the preview event on October 18 in Manhattan, guests had the chance to wander through Jenny Sabin Studio’s hanging textile sculptures and snack on sugar sculptures. This year’s installation, LUSTER, which was curated by the nonprofit Art Production Fund, presented a more intimate, and refined, version of Sabin’s 2017 Lumen installation for the MoMA PS1’s Young Architects Program. The exhibition encompasses a bar serving up beers and cocktails from Italian beermaker Peroni, as well as functional seating and tables from Sabin. A woven canopy of photoluminescent materials, reflective textiles, and tubing has been lit with color-changing lights, creating a constantly shifting environment. The cell-like structure of the canopy, strung from supports just below the ceiling, both filters and diffuses sunlight during the day and seems to pulse when lit at night. “Tubes,” some defined and others deflated, hang down from the installation and encourage visitors to mingle around and touch them. Depending on the lighting, the effect varies from being inside of a cave, to drinking beer in a dense forest surrounded by tree trunks. Even the spool stools were given an update, their solid cores replaced with spindly, rebar-like supports. The same basic form of the stools was also elongated to form components of the central bar and taller tables. LUSTER was fabricated under very different constraints than the courtyard condition of Lumen. In a discussion at the House of Peroni with GSAPP’s Christoph Kumpusch, Sabin discussed the technical challenges of bringing such an installation to an enclosed space and designing it to travel. After New York, Peroni will bring LUSTER to Los Angeles, Miami, and Washington D.C. The entire canopy zips up for easy transport, and everything was built to fit the specific site. Kumpusch and Sabin also touched on the way that LUSTER openly presents boundary conditions and exposed edges, as well as how the fluid nature of fabric works as an analogy for gender. In terms of the craft itself, Sabin was quick to point out the storied history of textiles and their tangled history with technology—the first punch cards were developed to guide looms, which evolved into the calculator, mainframes, and more, paving the way for modern computing. Also present at House of Peroni 2018 was Glass Garden Lost & Found: Of Healing & Knowledge, an exhibition of carved sugar flowers from candy artist Maayan Zilberman. Mixing live flowers with candy facsimiles, Zilberman’s Peroni installation references the Orto botanico di Padova garden in Padula, Italy, a garden famously known for its collection of both medicinal and poisonous plants. The live flowers take on the healing, medicinal role, while the sugar flowers represent the deadly, artificial constructs created from human knowledge. House of Peroni 2018 will run through October 20 in New York, and then move Los Angeles on November 8, Miami on November 14, and end in Washington D.C. on November 28. Tickets and more information can be found on the House of Peroni website.

ARCHITECT@WORK - Canada - Where A+D meets INNOVATION!

An exclusive tailored event focusing on innovations for Architects, Interior Designers and Specifiers.  With over 500 innovative products and services showcased by manufacturers and distributors. All exhibitors go through a strict selection process with an external juding panel, ensuring the presence of high caliber innovations. FEATURES include: Keynote Speakers, Accredited Seminars, Materials Exhibit, Project Wall, ART Installation. We offer complimentary catering all day to our exhibitors and attendees, so they can focus on networking and conducting business.    
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Meet the honorable mentions in our 2017 Best of Product Awards!

Last week we shared the winning designs from our largest-ever Products Awards across 15 sundry categories, including technology, textiles, HVAC, furniture, facades, and more. Scroll through the slideshow to see the the honorable mentions from each category, evaluated by our team of judges for innovation, aesthetics, performance, and value. You can find our winners and honorable mentions featured in our September issue—out September 6! The Best of Products Awards Jury: James Biber Partner, Biber Architects Olivia Martin Managing Editor, The Architect’s Newspaper William Menking Editor in Chief, The Architect’s Newspaper Patrick Parrish Owner, Patrick Parrish Gallery Tucker Viemeister Founder, Viemeister Industries Pilar Viladas Design writer and editor HONORABLE MENTIONS To view images of all honorable mentions, please click through the slideshow above. Finishes & Surfaces CONDUCT by Flavor Paper PUZZLE by Edward Barber and Jay Osgerby for Mutina for Stone Source Bath LINEA SHOWER BASE by Fiora VERGE WITH WASHBAR by Bradley Corp. Lighting SYMMETRY by Visa Lighting LIFT WITH BIOS by Pinnacle Architectural Lighting Textiles SIGNATURE & LEGACY COLLECTIONS by KnollTextiles SHADE by Chilewich Openings GPX FIREFLOOR SYSTEM by Safti First CURVED by Vitrocsa Technology & Innovation MATTERPORT PRO2 3D CAMERA by Matterport PORTABLE ULTRA SHORT THROW PROJECTOR by Sony Kitchen 4-DOOR FLEX REFRIGERATOR by Samsung VERTICAL BAR BLOCK by Henrybuilt Interior Commercial Furniture GLASSCUBE by CARVART KANSO BENCH by HBF Interior Residential Furniture STEMN SERIES by Fyrn DICHROIC TABLE by Rottet Collection Structural FIRE AND WATER BARRIER TAPE by 3M SCHLUTER-DITRA-HEAT-DUO by Schluter Systems Smart Home Systems EVOLVED MINNEAPOLIS FULL ESCUTCHEON HANDLESET by Baldwin Hardware PANOVISTA MAX by Renson Facades PHOTOVOLTAIC FACADE by Onyx Solar TRIANGULAR RAINSCREEN PANEL by Shildan HVAC EME3625DFL LOUVER by Ruskin AIRFLOW PANEL by Architectural Applications Outdoor Public GO OUTDOORTABLE by Landscape Forms ULURU by Metalco srl/id metalco, Inc. Outdoor Residential CLOUD BENCH by Bend Goods VERTICAL LOUNGER by DEESAWAT  
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Specsheet>Contract textiles that feel like home

The latest contract textiles are evolving toward comfort and calm in a way that makes any space feel like home. Carnegie x Allsteel Allsteel Two major players in the contract world are joining forces to provide ease and increased quality for customers. Allsteel will now offer Carnegie’s PVC-free textiles graded for Allsteel furnishings. Momentum Style Library Contract The collection, comprising 15 designs, is inspired by architecture and nature. This large selection of mixable textiles comes in a variety of materials and textures. With 74 different color options, these complementary prints are a designer’s dream. Azuma KnollTextiles Inspired by traditional Japanese motifs, Azuma, which means east, features four upholstery fabrics named Kabuki, Sashiko, Zen Wave, and Kaya. Kabuki is a bold graphic print that represents the ancient style of Japanese theater, while Zen Wave features a soft print based on classic kimono designs. Each textile is suitable for a variety of uses and is water- soil- stain- and/or bacteria-repellent. Color Compound Luum An example of “Millennial Pink” creeping into the interior design realm, this collection of contract textiles was influenced by architect Luis Barragán’s use of color. The raw textures and simple geometries foster more peaceful environments. Hester Designtex Debuting at NeoCon 2017, Hester is a digitally printed wall covering inspired by Bauhaus masters. Designer Joe Kievitt created an original piece of artwork using masking tape, handmade tools, and a steady drawing hand. The painstaking process resulted in a graphic pattern with a handcrafted quality. Additionally, Hester is certified to SCS Indoor Advantage Gold.

Rigid Vinyl Drywall Corner Bead TRIM-TEX Available in 11 unique shapes to match any interior style. Built strong enough to withstand everyday wear and tear.

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Jenny Sabin wins this year's MoMA Young Architects Program

Ithaca, New York—based practice Jenny Sabin Studio has won the 18th iteration of The Museum of Modern Art (MoMA) and MoMA PS1’s annual Young Architects Program for her project entitled Lumen. The immersive design will be on show starting June 27 at the MoMA PS1 courtyard in Long Island City.

Lumen changes throughout the day, offering shade and shelter from the sun, while also providing artificial illumination after sunset. This is achieved thanks to a tubular lattice canopy comprised of recycled, photo-luminescent, and solar active textiles that absorb, collect, and emit light. The canopy reacts to changes in daylight, absorbing and producing light when necessary. In conjunction with this, fabric stalactites will release mist in response to visitors' proximity, allowing the adaptive structure to respond to changes in heat and the density of the crowd.

Sabin's design will be present for the 20th season of Warm Up, an outdoor music series from MoMA PS1, and will stay on view for the rest of summer. Lumen was chosen as the winner ahead of four other projects. The competition brief called for projects that address environmental issues such as sustainability and recycling. The temporary outdoor installation had to be capable of providing water as well as seating and shade.

"Jenny Sabin's catalytic immersive environment, Lumen, captured the jury's attention for imaginatively merging public and private spaces," said Sean Anderson, associate curator in MoMA’s Department of Architecture and Design. "With innovative construction and design processes borne from a critical merging of technology and nature to precise attention to detail at every scale, Lumen will no doubt engage visitors from day to night in a series of graduated environments and experiences."

Losing out to Sabin were four other finalists. These included Bureau Spectacular (Jimenez Lai and Joanna Grant), Ania Jaworska, Office of III (Sean Canty, Ryan Golenberg, and Stephanie Lin), and SCHAUM/SHIEH (Rosalyne Shieh and Troy Schaum). Despite not being realized, their work will be on show at the MoMA during the summer.

“The Young Architects Program remains one of the most significant opportunities for architects and designers from across the country and world to build radical yet transformative ideas. This year's finalists are no exception; their projects illustrate a diversity of approaches and refreshing ideas for architecture today,” Anderson added.

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Product>Tantalizing textiles

Textiles can add glamour to a space or manage noise pollution. These stylish options are more than just your average fabrics. Coco Couture Carnegie A new addition to Carnegie's Xorel line, the first and only plant-based high-performance interior textile, the couture collection adds a bit of glitz and luxury to the world of hospitality finishes. Nomad Collection Fil Doux Textiles x Clodagh A beautiful collection of upholstery textiles and bed throws for hospitality environments created collaboration with textile designer Clodagh. Inspired by her travels to over 100 countries, the designs include digital prints and woven fabrics in 15 earth-inspired color-ways. The knit throws, seen above, are machine washable. Phaedra Collection Style Library Contract Inspired by an 18th Century English Toile that has been enlarged, Phaedra includes wall coverings, upholstery, and drapery textiles that feature rich velvets and luxurious mattes. Luxe Natural Robert Allen Contract These high-performance textiles are inspired by the maker movement, with patterns that allude to hammered metals, ceramics, and handmade fabrics made of wool, linen, and alpaca. Outline Collection Knoll Textiles A graphic line that explores line work and geometry, Outline includes three upholstery fabrics, three wallcovering products, and two healthcare fabrics that integrate mesh paneling for easy maintenance. Transference Collection Suzanne Tick for Luum Inspired by disruptions in our world, including the glitches we face with technology, Transference includes four new tactile fabrics, including "Disrupt," which is a distorted take on a classic houndstooth pattern.
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The biggest hits from NeoCon

This year's Neocon had a lot of standouts. There were big names with new design collaborations and some up-and-coming designers that really stood out. Here are a few of our favorites from The Mart in Chicago. Brooklyn-based Uhuru made the leap to contract furniture with their very first collection dubbed Essentials Workplace. The brand's dedication to craftsmanship and material sensibility is apparent in the new line that offers industrial-yet-modern pieces that can be incorporated into a variety of different office styles. Allsteel showed a lot of great options for the evolving workplace using fresh and bright textiles, including Parallel (shown above) which is designed with wide arm rests to allow for informal, relaxed meeting places. A manufacturer of innovative glass and resin architectural materials, Sensitile debuted Celeste, a fully customizable backlit canvas. Either LED panel lights, projection light, or daylight can be used to emphasize the the etched glass patterns that appear to be infinite.
    Tarkett debuted a collection of luxury vinyl tile collections from a group of very impressive designers including Suzanne Tick, 2X4, D.B. Kim, K&Co, and Sagmeister & Walsh. The products ranged from subtle-yet-beautiful ombre wood-look tiles to all out in-your-face florals that faded into colorful pixels. In a match made in heaven, Scholten & Baijins has designed a serenely beautiful collection of graphic gradient patterns for Skyline Design. Its subtle patterns, which can be arranged in multiple ways to allow more light or more privacy, are paired with a curated color palette that look great as a whole. One brand that really stood out in terms of innovation was DIRTT, which stands for "doing it right this time." Not only can they build practically anything designers and architects can dream up, they can do it in a very short amount of time. They have also pioneered new virtual reality technology that allows users to edit 3-D models in real time, as well as being able to physically walk inside these digital models. The Conexus lounge chair by HBF, designed by Michael Vanderbly, maintains the craftsmanship and style of luxury residential furniture alongside ultra-durable materials that would suit practically any hotel lobby, upscale retail store, or office reception area. In addition, they also debuted a striking collection of textiles designed by European designer Christian Müller. Other impressive textiles include Carnegie's Alunet, an open-neat weave that controls heat and glare with maximum transparency, and Reflectacoustic, an innovative design that controls sounds as well as delivering heat and glare reduction through yarn, weaving, and metalized backing technology.
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Product>aesthetically pleasing contract textiles

Age-old classics juxtapose modern technology for versatile interiors. Haberdasher Collection Herman Miller

Herman Miller’s Laura Guido-Clark, who designed the collection, was inspired by the classic fabrics and sewing tools one would find in a tailor’s workshop. The mix of prints and solids are available in a large assortment of colors and meant to commingle. 

Terra Collection Alcantara

With names like Pangea, Laurasia, and Ur, Alcantara’s second luxury collection is designed with the theory of supercontinents and the texture of earth’s different terrains in mind. The material is antibacterial and can be specified as fire-retardant and weatherproof.

Balance Collection Knoll Textiles

Balance is comprised of one wall covering, one drapery, and five upholstery fabrics that play off one another and harmonize. The collection is full of durable options, with four out of the five upholstery options achieving 100,000+ double rubs Wyzenbeek. The Wit fabric is bleach cleanable, and both Melody and Tinge are 21 phthalate-free vinyl, making them environmentally responsible to boot.

Configure Shaw

Building on the success of its existing hexagonal collection, Plane, Shaw added 14 new colors to the palette, as well as three new styles of shifting shapes that can be combined to create subtle tonal patterns or impactful entryways. All of the styles are 26-ounce, multi-level pattern, cut-loop construction made with EcoSolution Q nylon and EcoWorx backing.

Fast Track Sina Pearson Textiles

With sportswear trends taking over the fashion world, "athleisure" has made its way to interior design with Sina Pearson’s newest collection of textiles. Patterns like Marathon, Sprinter, and Mesh are made from high-performance upholstery fabric that feature Sunbrella contract yarn and PVC-free polyurethane.

Plaid Chilewich

One of two new weaves launching at Neocon, Plaid is available in wall-to-wall flooring, as well as wall textiles in six-foot roll widths. Designers can also opt for 18-inch-square tiles and 6- by 36-inch planks to create a more patterned look. The collection is offered in tan, multi, and gray colorways.

Dazzling Dialogues Moooi

Designer Noortje van Eekelen explores modern symbols in her Dazzling Dialogues design that uses warped emojis to create detailed patterns that serve as a reminder of how we communicate with one another in this tech-driven world. 

Floor Tiles Mosa The ideal in floor design is to achieve superb aesthetics in every project, while also ensuring design integrity and minimizing risk. Risk within the project, and risk to the designer’s reputation and bottom line, can be minimized with thoughtful floor design, combined with careful and diligent specification of tiled surfaces. Learn more about the top 5 factors to consider before specifying tile.
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Cooper Hewitt announces fall exhibitions focusing on textiles, socially-responsible design

The two exhibits take a very different approach to their subject matter, with the first heavily centered on a specific medium and industry (textiles) while the second focuses broadly on how design can tackle social challenges ranging from healthcare to transportation infrastructure. Read below for more details! Scraps: Fashion, Textiles and Creative Reuse, Sept. 23–April 16, 2017 Traditional craft and modern sustainability will intersect within this exhibit, which will include more than forty works from Reiko Sudo of Tokyo-based textile design firm Nuno, Luisa Cevese of Milan-based studio Riedizioni, and Christina Kim of Los Angeles-based brand dosa. Museum Director Caroline Baumann said in a press release, “Telling the inspiring and empowering stories of three women designers and entrepreneurs who hail from three continents, Scraps brings critical focus to the human and environmental costs of fashion consumption while also offering viable solutions for reducing waste and raising awareness." By the People: Designing a Better America, Sept. 30–Feb. 26, 2017 Cynthia E. Smith, the Cooper Hewitt’s curator of socially responsible design, spent two years compiling By the People. It will cover 60 projects that relate to health care, alternative transportation, sustainable land use, food, education, and more. An introductory section of the exhibition, which will include a video by Cassim Shepard and an interactive data visualization titled Mapping the Measure of America, aims to explore social inequality in the U.S. and contextualize the other exhibit's other projects. Baumann added "By the People will showcase the innovative and impactful actions generated through design, and inspire creative problem-solving at local, regional, national and even international levels."