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Upcycling food waste: Krill Design

Vases, containers, furnishing accessories, decorative elements and lamps made from food waste. This is the innovative frontier of intelligent recycling approached by the Krill Design studio under the artistic direction of architect Maurizio De Caro. This is an Italian design studio specialising in the development of new design products within a 100% circular and sustainable process. Born in 2018 from the meeting of Ivan Calimani, Martina Lamperti and Yack di Maio, the studio took its first steps starting from the consideration that there are no virtuous solutions for organic by-products of the food chain, as opposed to what happens for example for paper, glass and plastic.

The three founders turned this problem into an opportunity by experimenting with the creation of innovative materials which, combined with the 3D printing method, resulted in a successful and environmentally friendly production process. The production process is completely natural and does not require any additives or additional substances. Objects can be produced from coffee grounds, orange peels, eggshells and other resources from the food chain. The result is the production of design objects made from biodegradable bioplastic, which, unlike traditional products, can be reused at the end of their life to fertilise the garden or pots at home. An example of these products is the Lady Light lamp designed by architect Maurizio De Caro: an essential and elegant sign of light, a sculpture designed to catalyse attention within the space in which it is placed.

LadyLight “is an interior architecture program”. A path of light, the result of the geometric experience of complex shapes, essential material still to be discovered, a sculpture designed to catalyze attention within the undifferentiated space that will host it. Light, metaphysical, beyond the consolidated conception of design, it is not an artistic installation but it presupposes aesthetic contemplation through its illuminating function. LadyLight, illuminating a conceptual space, for the contemporary architecture of research, it was necessary to remove the classic idea of ​​the lamp, any functional affectation, to give the potential user-collector the experience of the uniqueness of geometry, shape, sign .


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