Designers on the process

Industry Partner: Konsthantverk i Tyringe

Describe the product/work/project based on your working process

The project began as an exploration of several possible directions, but gradually came to focus on the process itself – simplifying production to one clear gesture: bending. Based on the motto “singular material, singular process,” I developed a small family of lamps in which all parts are shaped by bending standard sheet metal. Two sheet-metal components, one solid and one perforated, together form a volume that encloses the light source. By combining and varying these in different proportions, differences in expression and light play emerge. The work has been about balance – how to increase efficiency without losing Konsthantverk in Tyringe’s identity.

What has been the biggest challenge in the project?

Working with metal was relatively new to me, so a large part of the process involved understanding the material’s characteristics and limitations. I had to adapt my usual methods – often based on wood and a more studio-driven practice – to an industrial context. The challenge was to maintain a craft-oriented approach while the project moved toward an efficient production logic.

What is the greatest benefit of the collaboration?

The greatest benefit of the collaboration was the meeting of perspectives: Konsthantverk in Tyringe’s technical and production expertise and my more exploratory, process-oriented way of working. The result was a product that both connects to the company’s history and opens up new ways of thinking about material and manufacturing. For me personally, it has been valuable to see how my methods can be translated into a different material and context.

What does the future look like for the product?

The lamps are designed with production in mind, using a process well suited for manufacturing and aligned with Konsthantverk in Tyringe’s way of working. Although there are no concrete plans yet, I see clear potential for further development – as a product series that can continue to grow, either within the company or independently.

Industry Partner: Konsthantverk i Tyringe

Describe the product/work/project based on your working process

The design of the lamp comes from a desire to simplify the manufacturing process and to combine the hard qualities of metal with the pliable qualities of a textile. The lamp’s form highlights the texture of brass while allowing the metal to mimic the behaviour of a flexible fabric.

Like a textile made up of many components that together create a malleable material, the lamp is designed to shift shape, allowing the user to adjust it and therefore use it in many different ways within a space.

The candleholders are based on a waste material generated during the production of Konsthantverk in Tyringe’s ceiling fixtures. The idea was to create a chamberstick with soft shapes that contrast with the hard texture of the metal. The forms are inspired by unfolding flower petals. 

What has been the biggest challenge in the project?

The biggest challenge has been speaking the same language. Coming from different material backgrounds, it hasn’t always been easy to communicate about the possibilities and limitations of the material. But this has also led to new ideas.

What is the greatest benefit of the collaboration?

The greatest benefit has been the opportunity to collaborate with companies that possess solid craftsmanship expertise. This has led to an exchange of knowledge around a material I previously had little experience working with.

What does the future look like for the product?

These are the first prototypes. At this stage, the lamp and the candleholders are therefore still under product development.

Industry Partner: Vilax

Describe the product/work/project based on your working process

Together with Stina Pehrsdotter, we began by carrying out an analysis to understand Vilax’s possibilities and needs. Based on this, we continued working on various projects, and I chose two directions.

Porcini furniture series
Vilax manufactures coil springs from Swedish steel for their beds and furniture—a unique craft that provides high comfort and long durability. In combination with natural materials, we have managed to minimise the use of fossil-based upholstery materials.

The forms are soft and inviting, showing how the springs can also be used to create organically irregular shapes. Like mushrooms, they form clusters in the room.

Bark pouf
When Vilax showed their production, I was immediately intrigued by the level of precision the company offered. It opened up the possibility of creating something I had never tried before. Could a sculptural pattern become a piece of seating furniture? Inspired by the formations found in different types of tree bark, the idea grew around how individual parts can come together to form a whole. Moving between digital design and the realisation through craftsmanship is incredibly inspiring.

We used the materials available, and moving forward, we can explore how to incorporate more leftover leather, fabric, and recycled padding materials.

What has been the biggest challenge in the project?

Time. It takes time to get to know a company and to find the right direction in the process. Finding alternative materials that work in production, especially for padding.

What is the greatest benefit of the collaboration?

Gaining insight into how Vilax works and, as a designer, having the opportunity to try new methods. It provides inspiration and knowledge moving forward.

What does the future look like for the product?

We will continue developing Porcini together so it can go into production at Vilax, who have strong relationships with interior architects and retailers.

Bark is an independent project that I will keep developing with Vilax’s support, and I am very much looking forward to that as well.

Industry Partner: Zaarstone

Describe the product/work/project based on your working process

The project together with Zaarstone resulted in three products.

Stone basin
A stone basin made from leftover pieces from stone production. The design is simple and adapted to minimise machine time, allowing production to run automatically at night so as not to interfere with regular operations. Made from polished Swedish granite.

Ceramic clay
A by-product of stone production is stone slurry (stone dust mixed with water during cutting). By experimenting to develop a recipe combining slurry, ceramic waste (grog), bentonite clay, and water, we managed to create a clay body suitable for firing and wheel throwing, consisting of 90% industrial waste.

Ceramic glaze
This product is also based on stone slurry. We succeeded in experimenting our way to a glaze that could be fired, made from stone slurry, industrial waste (grinding dust from metalworking), waste from the glass industry (grinding dust), and wollastonite. The glaze is therefore made from 82% industrial waste instead of mined minerals.

What has been the biggest challenge in the project?

The biggest challenge was developing workable material mixtures for the clay and the glaze. It took many tests to find proportions that could both be thrown on the wheel and withstand firing.

What is the greatest benefit of the collaboration?

That it was actually possible to produce both clay and glaze from stone slurry.

What does the future look like for the product?

All three products have the potential to go into production. The basin is essentially ready to launch, but it would require Zaarstone to open a new branch of operations. The glaze and the clay need one round of experimental scaling to pre-production in order to test whether they can also be handled, sourced, and mixed in larger quantities and through industrial processes. This would require establishing a separate company, as well as acquiring premises, staff, and machinery.

Industry Partner: Betongdesign

Describe the product/work/project based on your working process

I have designed a washbasin made from “green concrete,” meaning a concrete with lower CO₂ emissions than conventional concrete, achieved by replacing part of the cement with other materials. Concrete is the world’s most widely used building material, and cement production accounts for 4–8% of all global CO₂ emissions. The Muqarnas washbasin explores concrete as an exclusive material that should be used sparingly, and therefore employs a thin shell form inspired by an Islamic pattern system. In Islamic religious architecture, muqarnas is a type of vaulted structure—a three-dimensional version of the geometric patterns used as decoration on facades. Water and ritual washing of the body before prayer, Wudu, are important practices in Islam, and water is also a central ingredient in concrete. The design of the washbasin brings these rituals and qualities together.

What has been the biggest challenge in the project?

The biggest challenge has been developing a concrete mix using the new type of environmentally certified cement that can be used to produce the washbasin on a small scale. The use of green cement is still not established enough to replace conventional concrete in construction and production processes. We have not yet found the right type of mix, but the work continues.

What is the greatest benefit of the collaboration?

It has been exciting to take on the challenge of designing a product based on a complex set of conditions: starting from the environmental aspect while also weaving in a narrative about the history and potential of concrete, and at the same time pointing toward a new direction for the material. The product has great potential to be further developed in various forms.

What does the future look like for the product?

I would very much like the product to go into production, but at the moment it does not seem likely to happen within the scope of this collaboration. In cases like this, it often comes down to timing – right now the necessary conditions are simply not in place.

Industry Partner: Vilax

Describe the product/work/project based on your working process

The corner acoustic pillar was developed using leftover materials available at Vilax – cold foam and textiles. I focused on the fact that effective sound absorption is achieved by working with the corners of a space, and that the foam offcuts can be used as filling inside covers sewn from fabric remnants. I sketched a range of different solutions and worked with small-scale models, partly on site at Vilax and partly in my studio at home. During the process, we also discussed fire safety classification, which I have taken into account. My exploration resulted in “cushions” that are fastened together, hung up, and concealed by a screen that can be easily adapted to the conditions of the room.

What has been the biggest challenge in the project?

The challenge has been that Vilax has had a high production load during this period, which has made it difficult to set aside time for a more in-depth and development-focused collaboration.

What is the greatest benefit of the collaboration?

Gaining insight into this exclusive manufacturing industry and having the opportunity to work with leftover materials in a new way.

What does the future look like for the product?

It is difficult to determine at this stage. Is there a demand — a need to meet? And can the acoustic pillar be produced in a cost-effective way?

Industry Partner: TekoTryck

Describe the product/work/project based on your working process

Wettex is a Swedish invention — a household cloth made of compostable sponge fabric, invented by Curt Lindquist in 1949. The cloth consists of regenerated cellulose and cotton fibres and can absorb liquids up to 15 times its own weight. Our starting point in the collaboration was to explore whether Wettex could be used in contexts other than the kitchen. Where are there areas where the material is needed?

Here we present five recyclable products for sauna and spa rituals. Inspired by Scandinavian sauna traditions. Created from cellulose and recycled textile fibres. The products can be both recycled and reused multiple times, and they can replace similar textile products at a lower cost.

What has been the biggest challenge in the project?

For us, the collaboration has gone very well throughout. It has been enjoyable, educational, and motivating. We have used our individual experience and knowledge to develop products together. The biggest challenge now lies ahead, as we explore how to move the project forward into production and sales.

What is the greatest benefit of the collaboration?

The close collaboration with the industry. Receiving direct feedback on design proposals and gaining a different perspective early in the design process. Taking parameters such as manufacturing possibilities, efficiency, and costs into account right from the start has shaped the design process.

What does the future look like for the product?

We are currently exploring the future of the products and the concept developed during the project. Please feel free to contact us if you are interested in the products, the project, or potential collaborations.

Industry Partner: Contura Steel

Describe the product/work/project based on your working process

Our works and solutions are rooted in the desire to reuse — to view existing, unused resources as assets. To be inspired by them and ultimately transform these resources into attractive products that, in turn, can hopefully contribute to positive behavioural patterns that benefit nature and society, health, and everyday life. In our case, to make it easier for people to spend time outdoors in nature and enjoy it. For example, making it convenient to cook food and access energy anywhere.

Offcuts from the production of Contura’s well-crafted stainless steel sinks have been transformed into, among other things, camping stoves and energy-generating charging stations. The beautiful basic shape of the offcuts contributes both functionally and aesthetically, giving the products a friendly presence. The material’s properties also ensure long-term durability in demanding outdoor environments.

What has been the biggest challenge in the project?

At first, the project felt challenging, with enormous limitations in terms of given materials and predetermined shapes as a starting point — both in process and possibilities. But this “exercise” proved to be highly developmental. Beginning with strict constraints, “forcing” an existing form and materiality into an area of interest and a desired functionality. Cross-pollinating a form with a function and seeking logic in the outcomes.

Before long, this shape was tested in everything. Becoming obsessed with a current form helps. Try, try, try until it works. A human iteration process similar to a genetic algorithm. This project has helped us appreciate constraints. We love offcuts, firmly believing that waste can be made desirable.

Another challenge has been finding enough time within the project — testing ideas in real-world scenarios, and as designers wanting to produce numerous prototypes and construction solutions can easily become demanding for manufacturers who need to focus on their primary production.

What is the greatest benefit of the collaboration?

The greatest benefit of the collaboration is, first and foremost, the powerful realisation that we are surrounded by a wealth of potential resources — more or less just waiting to be used. And that we can take a simple form, a material, or an existing component as a starting point and, from that, create solutions to problems or desirable functions, if we only give it time and open up to collaboration between people with different experiences and skills.

The combined knowledge, energy, and unexpected solutions that emerge from cross-cultural, multidisciplinary groups of individuals can be “explosive.” As a welcome outcome of the project, we now have new business ideas that can generate positive growth in areas beneficial to society. And once again, we hope to inspire other creators and manufacturers to look around for untapped resources — for example, by reducing waste from existing production.

What does the future look like for the product?

The future of our solutions and products looks promising. We believe they can contribute positively to people’s everyday lives by making it easier and more enjoyable to spend time outdoors and in nature. We are planning for production and aim to grow organically at a comfortable pace together with our potential and future customers. At the moment, we are working on further testing, refining details, achieving perfect fit, and developing appropriate production processes and preparations. We are also looking for suitable partners for manufacturing and distribution.

Industry Partner: Herman Anderssons Plåt

Describe the product/work/project based on your working process

STOP takes its starting point in Askeröd’s industrial and community traditions and transforms a forgotten place into a concrete demonstration of what rural areas can achieve through collaboration. The project shows how social innovation can create long-term value through reuse, local expertise, and participation. It engages young people, elevates the place, and builds local pride.

The result is not only a physical work, but also a method that can be scaled, shared, and inspire other communities in Skåne. With STOP, we also want to show decision-makers that investments in public spaces in rural areas can be functional, sustainable, and artistically relevant.

The project is about far more than a bus stop — it is about the right to have influence over one’s own local environment.

What has been the biggest challenge in the project?

The permits process and the work with external financing have been the most time-consuming parts. In addition to this, it is always a challenge to maintain momentum in such a long-term project.

What is the greatest benefit of the collaboration?

It is really too early to say before we have fully reached the finish line, but for me the greatest gain is the sense of togetherness — that so many different people step into the process, and experiencing how the rural community truly comes alive around a shared idea.

What does the future look like for the product?

We will see in what scale we can realise the sculpture. At the moment, we are seeking financial support to be able to produce it as closely to our vision as possible. With a bit of luck, something will be in place already by summer; otherwise, we aim further ahead. We rural folk don’t give up that easily.