„CORCRETE is a special material, both in terms of visual and tactile qualities – and it is also an alternative to conventional materials.“

Nina Ruthe and David Antonin use their curiosity and intuition to develop an exciting materiality in their designs. In this project, they also developed a new material: by combining the contrasting qualities of cork and concrete, the design duo created their own natural-looking material for interior design and architecture. Originating from the attempt to make concrete lighter, over the years, the material development has been perfected and the process patented. A process influenced by many internal as well as external test series, which revealed unimagined potential.

Back in 2016, CORCRETE won the Biennale Interieur Kortrijk Award as well as the Green Product Award and Green Product Traders Award in Stockholm, reaping praise for the successful combination of aesthetics and innovation. Multifaceted in its variety of uses as well as in its visual and tactile qualities, this material is the ideal protagonist for contemporary interiors and individual as well as unusual projects. Following an intensive development phase, the main focus centered on finding the right production partner – a complex and demanding task.

In 2021, the designers came into contact with HARTIS: in addition to a passion for craftsmanship, manual work and innovation, the Belgian family business has a distinctive and long-term track record of projects that involve natural stone, terrazzo and concrete. In HARTIS, Nina and David have found like-minded material enthusiasts. The result: tailor-made solutions including comprehensive advice on project planning and technical implementation for a wide variety of interiors.

„We especially want to reach architects and interior designers with the special aesthetics of the material for the implementation of their projects. Because: CORCRETE is versatile and can be used in interiors as floor and wall covering, as well as for furniture and surfaces. CORCRETE is unique and distinct, just like every project.“

But what makes CORCRETE so special? It seems familiar – but atsecond glance it’s surprising. While the material initially looks like terrazzo, on closer inspection, it reveals a more natural appearance. The first touch of CORCRETE also imparts an unexpected sensation: it feels velvety and warm. The natural material cork unfolds its unmistakable visual and tactile aesthetics in combination with the cool concrete. Also special: the hidden structure of CORCRETE – just like terrazzo. It is only when the cast surface is sanded that the added granules become visible and create the beautiful, vibrant terrazzo effect.Compared to conventional concrete materials, CORCRETE is around 40 percent lighter thanks to the addition of cork granulate from Portuguese cork production; in addition, much less sand, an increasingly scarce resource, is needed in the production process. CORCRETE is produced in white, black and grey. There are no standard dimensions – because every CORCRETE project is unique and is planned and implemented exclusively for and with the client.

An example reference: the VEJA headquarters in New York. The sneakers label also follows sustainable principles in the design of its interior – natural, aesthetic, casual and appealing. Custom-made sideboards and a bench made of CORCRETE complement the interior designed by the Brooklyn-based architecture firm JDY, giving the space a unique look and feel. Find out more about CORCRETE at www.corcrete.de

Der Beitrag MATERIAL INSPIRES OUR SENSES erschien zuerst auf niruk.

„We go through life with open eyes and linger on something we find interesting: whether it‘s a material, a manufacturing process, or a texture that’s pleasant to the touch. It‘s about a perception of aesthetics as we understand it – anything can be relevant.“ 

CORK. Nina Ruthe & David Antonin of Design Studio Niruk focus on a new material, examine its visual and tactile qualities, and create unique forms and products. The result: natural, soft and warm; velvety, exquisite and emotional; graphic, architectural and clear. NIRUK has designed four products for the Portuguese brand Cork Units. A pared-down, yet evocative, design idiom. Characterised by the natural material of cork, the special manufacturing process and a uniquely warm texture. A cork oak must grow for 25 years before its bark can be harvested for the first time: this first cut is called virgin cork. Its rugged surface is different from all subsequent cuts in the life of a cork oak. Cork needs time to regenerate: it can only be harvested every nine years. Afterwards, the bark cuts are stored, dried and sawn into boards, which are then glued and processed into blocks. A material that can tell a story – quietly, but emphatically.

NIRUK also tells a story: about texture, forms and colours, about  the creation of materials and manufacturing processes. After glass and porcelain, the current focus is on  cork. Which shapes and applications suit this material?  The result: four durable and well thought-out designs – sustainability paired with contemporary aesthetics. NIRUK creates products that exude authenticity. Following material studies and intensive research in NIRUK’s own ‘material lab’, the design process set in. The results are the PORTOBELLO wall hooks, the CORKBOARD wall shelf, the BALANÇO swing and the PLAY side table. Made of cork, characterised by clear, graphic design. The products are defined by geometrical shapes, they are pleasing to the touch and the material’s changing natural shades feel familiar.

The PORTOBELLO coat hooks are inspired by nature; the smaller versions can also be used as knobs for closets and chests of drawers. The cork’s tactile qualities are reminiscent of the velvety surface of mushrooms, while the shape of the knobs picks up the rounded form, which, through the graphic cut transforms into a circle on the front surface.

Pared-down architectural forms: The PLAY side table is defined by two differently sized cork blocks; the lightweight material and the staggered arrangement break up the solidity of the composition. A powder-coated shelf made of edged steel provides storage space for magazines and books.

The CORKBOARD SHELF is inspired by driftwood that acquires its soft, rounded form and its texture by contact with water and sand. The irregularities of nature are transformed into a simple and pared-down shape that is repeated in the simplicity of the wall fastening. Lightweight but solid, at the same time, round, geometrical and floating.

For indoors and outdoors: With the BALANÇO swing, the focus is on movement – and on the child that we are at heart. Both the geometrical shape and the size of the hemi-sphere with rounded edges provide safety and comfort.The rope is made of sustainable, recycled PET.

Der Beitrag „YOU BEGIN WITH THE POSSIBILITY OF THE MATERIAL.“ (Reuschenberg)  erschien zuerst auf niruk.

„Translucent or opaque, whether it reflects or absorbs light – glass is fascinating. Worked into delicate and thin-walled designs, it appears fragile; when blown into thick-walled shapes, it conveys depth and weight. Glass can be exquisite, fireproof and nowadays even indestructible, possessing many different properties and thus opening up numerous possibilities in design for us.“ 

Crystal glass. Industrial glass. Smoked glass. Coloured glass. Hardly any other material is as versatile in appearance and effect as glass. Multifaceted and playful light effects can be generated just as easily as new surface textures or unexpected shapes and patterns. Glass is alive – and, through changes of its aggregate state, allows countless possibilities. It presents both a design challenge and an opportunity. And thus an ideal sphere of activity for Design Studio Niruk. Nina Ruthe and David Antonin illustrate their approach with various objects made of glass. „Our glass objects and productsare the results of planned tests and processes,“ they explain. Although the traditional art of glassblowing allows a spontaneous modification of the object, it is essential for Design Studio Niruk to develop products that are suitable for industrial production, however, without restricting the designers in any way. Planned experiments have given rise to a variety of objects; collaboration with professional glassblowers has enabled the designers to develop a surprisingly new vocabulary of forms.

‘Out of the box‘ thinking for a new vocabulary of forms The formal language is achieved both through the work in the hotshop and the focused implementation of a wide variety of tools, thus illustrating the design duo’s unique approach. Design Studio Niruk‘s range of glass designs is diverse: ranging from their own portfolio of experimental projects to product series for renowned manufacturers. In interaction with light, glass generates surprising effects. Design Studio Niruk playfully exploits this special quality for their products. What they all have in common is the combination of traditional craftsmanship with creative ‚out of the box‘ thinking. When heated or melted, glass can always be reshaped – a fact that also describes Nina and David‘s design process.

Experimenting with modular forms When creating glass designs, in addition to particular existing tools, such as an antique waffle iron, Nina and David work with modular and self-built moulds. The dimensions and surfaces of elements can be individually adapted. Consisting of plug-in components, the elaborate construction of the moulds enables a kind of rapid prototyping: thereby it is possible to intervene in the production process and react directly to the results. The created objects reflect the character of ‘inflation’, they are both organic and geometric, and thus correspond to the design identity of Design Studio Niruk. A modification of the modular mould has a direct effect on both the material’s viscosity and the blown-in glass itself. New ideas can be realised quickly, which is not necessarily the case with other materials. When working with glass, the implemented techniques become visible.

Playful ways to create a variety of shapes One of Niruk’s most unusual tools used in the design process with glass is an antique waffle iron: misappropriated for this use, the first design created with this tool during the glass blowing process was WAFFLE – characterised by the special waffle pattern on the object‘s surface. The results and knowledge obtained from this project were then used for the modular mould construction for BRAMBLE: consisting of three different designs, the range of vases for the Danish manufacturer Bolia is available in both clear and smoked glass. In the case of the OULA vase, on the other hand, a unique design object was created even without the use of unconventional tools. In order to give the liquid glass its individual shape, the designers developed modular moulds made of wood and iron, which can be slotted together to create individual forms: the result is playful vessels that set no limits to creativity. OULA is the best proof. Creativity and audacity – along with a love of experimentation, nature in particular offers a special source of inspiration for the Niruk designers: the ICICLE vase is instantly reminiscent of a frozen icicle. A playful design, defined by linear structures and a distinct shape.

The importance of colour In addition to self-developed moulds and unconventional tools, the colour of the material plays an important role for the designer duo. Colouring changes the character of glass significantly: lines and material thickness are clearly emphasised, giving the object an expressive character. Reminiscent of textile folds, the FALDA vase delights not only with its special surface structure, shaped by a flexible mould made of fanned-out beech-wood slats, but also with an interplay of light and colour. With its dark blue tinted glass, FALDA evokes associations of water, flowing and deep.

„Glass is subtle, appears light and blends into the environment; unusual shapes or special structures interact with their surroundings and play with light and shadow. If you were to realise the same form in ceramics, the object would have a completely different effect just by the choice of material.“

Der Beitrag GLASS: A NEW VOCABULARY OF FORMS erschien zuerst auf niruk.