Recast.
Maja Kaszuba 2022
RECAST - MAJA KASZUBA
20 22 MAJA KASZUBA
BY JULIAN HUGHES
PHOTOGRAPHED
RECAST RANGE
This project was completed in collaboration with deVOL kitchens, who provided the reclaimed waste, as well as feedback throught the project.
This range aims to challenge our perception of waste and change it to that of a resource rather than something to be thrown away, in addition to finding a way to utilise fired ceramic waste.
It is designed to be durable both physically and emotionally through the materials durability and the visible narrative reflecting the origin of the product.
recast.
BY JULIAN HUGHES
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challenging our perceptions of waste.
RECAST PENDANT PHOTOGRAPHED
UTILISING FIRED CERAMIC WASTE
BY ADAM WOLSTENHOLME
RECAST RANGE PHOTOGRAPHED
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The Problem.
Fired ceramic is hard to recycle as it can’t be returned to it’s plastic state due to the many chemical changes that occur during the firing process - the same ones responsible for the materials’ durability.
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CERAMIC WASTE
PHOTOBENTU
why is fired ceramic waste hard to recycle?
68 million tonnes of ceramic waste is sent to landfill every year in the UK.
PHOTOGRAPH TAKEN BY MAJA KASZUBA AT WASTE
AGE EXHIBITIONDESIGN MUSEUM.
“There is no waste in nature, yet our planet is drowning in humanity’s pollution”
BY ANTON RODRIGUEZ
The User.
Tom’s home
Tom lives in a flat at the Barbican. His home is carefully filled with an eclectic range of objects and quality furniture. His appreciation for art and design is evident in his decor.
source for all above image https:// antonrodriguez.co.uk/barbican-residents/tommorris
Tom (30) - Design Editor & Consultant
• Tom is a creative professional living in London
• He is a conscious consumer with disposable income - he buys objects of quality that are meant to last.
• He has an appreciation for hand crafted items - he has tried his hand at pottery himself.
• He is social and frequently has dinner guests over.
User persona is loosely based on Tom Morris’ interview with Rodriguez
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PHOTOGRAPHED
TOM MORRIS
The Material.
material exploration process.
Reclaimed fired ceramic waste was acquired from deVOL kitchens. It consisted of tableware, light shades and tiles that were unsellable due to cracks and other defects.
A series of tests were conducted in order to figure out a way in which the waste can be broken down and processed to create a durable material that uses the maximum amount of reclaim without jepordising the structural integrity, and manufacturing and commercial viability of the material.
The tests explored ways of breaking down the waste, optimum waste particle sizes, selection of a binder and ratio of waste to binder.
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DEVOL PLATTERS PHOTOGRAPHED BY MAJA KASZUBA
MATERIAL SAMPLES PHOTOGRAPHED BY MAJA KASZUBA
about
the material. material samples.
The material developed consists of 65% fired ceramic waste cast with 35% Jesmonite (ecofriendlier alternative to cement).
RECAST PLACEMATS AND COASTERS PHOTOGRAPHED BY ADAM WOLSTENHOLME
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It is durable, heat and fire resistant (due to the nature of the two materials that make it up), and water proof once sealed with beeswax. RECAST
the importance of a narrative. RECAST
the process.
The forms of the outcomes were all inspired by the exploration of shapes found within photos taken at deVOL’s ceramic stusio (where the waste originates from). This ensures that they tell a story that reflects the origin of the material.
A SELECTION OF SKETCHBOOK PAGES BY MAJA KASZUBA EXPLORING FORMS FOUND WITHIN DEVOL’S CERAMIC STUDIO
The Narrative.
Creating a clear narrative that reflects the origin of an object adds to it’s sentimental value and increases it’s emotional durability, thus increasing the chances of it being kept for a longer period of time. 8
the kiln prop.
The kiln prop was one of the key inspirations form. It is one of the unsung heros of ceramic productionrecognisable to anyone who has worked within the field. It is also an element of production that is consistant regardless of whether the products are thrown or cast, thus being relevant to all of the objects that m ake up the reclaimed waste
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KILN PROPS PHOTOGRAPHED
BY MAJA KASZUBA
RECAST CANDLE HOLDERS PHOTOGRAPHED BY JULIAN HUGHES
Testing & Prototyping.
MAJA KASZUBA
testing & prototyping overview.
Cardboard portotypes were used to determine which depth of light shade was most suitable by assesing lighting effects achieved.
More refined prototypes were created in chemiwood using the CNC. These were used to asses aesthetic details of the forms and to review how cohesive the range is.
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LIGHT EFFECT TESTING PHOTOGRAPHED BY
about final product testing.
The products were used as they were intended to in order to test if they were fit for purpose. This included testing how easy they are to clean and conducting a drop test on the candle holders and coasters. All of the products preformed as intended.
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PRODUCT TESTING PHOTOGRAPHED BY MAJA KASZUBA
The Brand.
about the brand.
The brand aims to be fun and playful yet simple and classy. The colour palette is muted but not boring. The logo is simple and consists of the name ‘recast.’ which has a clear link to the reprocessing of the material.
The circular elements link back to the kiln prop which is the inspiration behind the forms of the range.
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sharing the narrative with the user.
The QR code in the packaging takes the user to the website which outlines the narrative behind the products.
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WWW.RECASTDESIGN.CO.UK
PRODUCT PACKAGING PHOTOGRAPHED BY MAJA KASZUBA
ADAM WOLSTENHOLME
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RECAST PLACEMATS AND COASTERS PHOTOGRAPHED BY
The Outcomes.
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RECAST CANDLE HOLDERS, PLACEMATS, AND COASTERS PHOTOGRAPHED BY
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RECAST CANDLE HOLDERS PHOTOGRAPHED BY JULIAN HUGHES
ADAM WOLSTENHOLME
RECAST CANDLE HOLDERS, PLACEMATS, AND COASTERS PHOTOGRAPHED
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BY ADAM WOLSTENHOLME
embracing imperfections.
The finish of the product is about embracing imperfections, in a way similar to that of deVOL’s crackle range.
The rim and inside of the shade are left unfinished, this not only adds to the narrative of the product but also provides a clear visual cue that it utilises an unconventional material.
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RECAST PENDANTS PHOTOGRAPHED BY JULIAN
PENDANT
PHOTOGRAPHED BY JULIAN HUGHES
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JULIAN HUGHES
