Designing for material circularity and sustainable manufacturing

Erco Lai is an innovative industrial designer who seamlessly blends traditional craftsmanship with modern digital fabrication, with a deep focus on sustainability and material circularity. His journey into design was sparked by a fascination with materials and their transformative potential, leading him to explore the symbiotic relationship between human systems and nature.

Drawing on cultural philosophies like Taoism and the Five Elements Theory, Erco’s work emphasizes the interconnectedness of all things and seeks to redefine the future of craft. Through projects like “Neo Stone Age,” Erco not only pushes the boundaries of material use but also conveys a profound message about the possibilities of sustainable and innovative design.

Who is Erco Lai? How did your venture into the realm of design kick off, and what factors influenced your decision to pursue this career trajectory?

Erco Lai:

“I am an industrial designer focused on materials and fabrication, with a particular emphasis on material circularity and alternative manufacturing methods. My work aims to create a symbiosis between human systems and nature, drawing inspiration from Earth’s geological system. I bridge the gap between material developers and the public, translating experimental materials into practical and meaningful objects, and redefining the future of craft.

My journey into design began with a deep fascination for materials and their potential. I’ve always been intrigued by how things are made and the possibilities of transforming raw materials into functional and aesthetically pleasing objects. This curiosity led me to pursue formal education in industrial design, where I honed my skills and developed a keen interest in form-giving. However, as an industrial designer, I realized that mass production creates significant environmental messes. This realization encouraged me to explore a new position/ interpretation in this post-industrial era through future craft and poetic production.

Cultural and philosophical influences play a crucial role in my practice. My background in Taoism and the Five Elements Theory profoundly impacted my approach to design. These philosophies emphasize the interconnectedness of all things and inspired me to incorporate holistic principles into my work. 

Consequently, I am a formgiver driven by a passion for waste materials and future craftsmanship. My journey into design was influenced by a deep fascination with creation processes, a commitment to environmental sustainability, cultural philosophies, and a relentless drive to push the boundaries of conventional design. Through my work, I strive to create a harmonious balance between human systems and nature, envisioning a future where design contributes positively to the planet.”

Can you expand on the specific design techniques or methodologies that differentiate your approach from other design studios in the industry?

Erco Lai:

“My approach to design embodies future craft and poetic production, distinguished by a unique blend of rational digital modeling and imaginative hands-on experimentation. This approach is underpinned by an understanding of matter flow based on the Five Elements Theory. Drawing from my cultural background, I categorize materials and design elements holistically. This framework enables me to explore the interactions between different materials and their potential for sustainable design and material circularity.

As a designer in the post-industrial era, I seek a sweet spot between art and design. I “design” art, describing the process as “poetic production.” I’m passionate about developing a unique aesthetic language that balances the precision of digital design with the spontaneity of natural materials. This concept of poetic production guides my projects, fostering a harmonious blend of technology, craftsmanship, and nature. By integrating these methodologies, I create projects that challenge conventional design practices and offer fresh perspectives on material use and sustainability. My work goes beyond creating products; it’s about reimagining the entire design and production process to align more closely with natural systems and principles.

Rather than striving to be unique, I aim to be authentic. To describe my design style, I’d liken it to music genres: my design approach resembles Ambient music, while my methodology is closer to Blues or Jazz.”

What does it entail to design based on materials? How does the research process unfold, and what does the design process encompass?

Erco Lai:

“Designing based on materials is an immersive and iterative process that emphasizes understanding material properties, behaviors, and potential applications. It begins with thorough research into various materials, including their properties, potential uses, cultural background, and environmental impact. To think outside the box, you need to define the box first. Meanwhile, this is followed by hands-on experimentation to physically interact with and test the materials. This phase involves observing, manipulating, and combining materials to explore their characteristics and potential in different contexts, imagination is crucial in this phase.

The next step is concept development, which involves visual design research using tools like collages, sketches, and mind mapping to generate ideas and explore various directions. Most of the time, the observation from field study will help. It is nice to have parametric design methodologies and responsive design models to create adaptable and responsive design models that consider material properties and intended use. However, it depends on the project scale and making process. In my practice, form follows material property and should be shaped in the most ‘natural’ way.

Finally, the process includes prototyping and testing, using digital fabrication tools such as 3D printing and laser cutting to create precise and complex prototypes. Nevertheless, making scale models by hand is also necessary in the process. These prototypes are iteratively tested and refined, evaluating the material’s performance, durability, and aesthetics. This stage ensures that the final product is functional, aesthetically pleasing, and sustainable, aligning with natural systems and pushing the boundaries of what is possible with materials.”

What is the message you or your firm wants to convey through your works?

Erco Lai:

“Lately, I have been deeply inspired by Isamu Noguchi’s notion of “useless architecture.” This concept encourages me to focus more on the expression of forms. I attempt to make advanced technology appear simple, innovative materials look aged, and traditional crafts seem modern. My work aims to rethink and reshape the relationship between human systems and nature, emphasizing material circularity and sustainable design practices. I strive to create designs that reflect a profound understanding and respect for the natural world, promoting a harmonious balance between technology, craftsmanship, and nature. Through my projects, I aim to demonstrate that sustainable and innovative design can coexist, pushing the boundaries of what is possible with materials and production methods.

Ultimately, my goal is to create a “useless factory”. It is a place where craftsmanship of design makers based on the infrastructure of the guild system can come together to focus on future craft, nature-based technology, and circular materials. It is a place where I can further develop my technical area of digital fabrication and build connections with artists, in order to create a sustainable and circular production system that mimics Earth’s natural processes. It is a place where you can translate material samples into objects and bridge the industry to the public, and define what future craft is.”

Which are your vital tools, resources and methods for your creative process?

Erco Lai:

“These days, I am deeply engaged with Notion, using it to create a comprehensive database that organizes spaces, concepts, and materials. This digital material library is instrumental in helping me plan and develop my projects within the framework of the Five Phases theory. By systematically cataloging information, I can efficiently access and utilize resources, ensuring that my designs are grounded in a solid foundation of research and material understanding.

Rhinoceros 3D plays a crucial role in my workflow as it allows me to quickly visualize and iterate on ideas that originate in my mind. Given that many of my projects involve advanced techniques like laser cutting and 3D printing, proficiency in 3D modeling is indispensable. Rhinoceros 3D enables me to create precise and detailed models that can be seamlessly translated into physical prototypes, bridging the gap between digital design and tangible objects.

Furthermore, I have adopted the concept of a prototype library, an idea inspired by designer Lex Pott. This involves creating shelves specifically designated for displaying all prototypes. This physical collection serves as a living archive of my design process, showcasing the evolution of ideas from initial sketches, no-go models to final decisions. It not only helps in maintaining a record of my work but also provides a source of inspiration for future projects, like a physical material bank. The ability to see and touch prototypes allows for a deeper understanding of material properties and construction techniques, enhancing the overall quality and creativity of my designs.”

If you were to select one of your completed projects that embodies your design philosophy the most, which one would it be, and why?

Erco Lai:

If I were to select one project that embodies my design philosophy the most, it would be “Neo Stone Age.”. This project uses industrial waste materials like marble powder, lime pellets, sand, and slag, showcasing my commitment to material circularity and sustainability. By transforming waste into valuable designs, it highlights my focus on rethinking material usage. “Neo Stone Age” blurs the boundaries between natural and artificial forms, achieving a balance between control and spontaneity, which is central to my design approach. This blending of natural processes and industrial by-products demonstrates a harmonious integration of these elements.

Additionally, “Neo Stone Age” integrates traditional craftsmanship with modern digital fabrication techniques, pushing the boundaries of material design. This fusion allows for the creation of unique, expressive forms that challenge standard design practices. Through this project, I aim to illustrate how creative design can bridge the gap between human systems and nature, embodying the principles that drive my work. Moreover, The research turns into a new material, “Neostone” and a new craft, Mineralloop, that fixes minerals with minerals.”

Many believe failure is a requisite for innovation and success, do you agree? Could you share with us some failures you went through in your career and what did you learn from them?

Erco Lai:

“Yes, I agree that failure is essential for innovation and success. Failures provide valuable lessons and insights that drive improvement and creativity.

Before “Neostone,” I experienced a significant failure while reusing waste sand material. I attempted to follow a method called Biorock, using electricity to accumulate minerals in the sea. The result was a disaster; it was too fragile to be called a “rock.” However, the making process was quite stunning. I believe the mistake was in setting unrealistic goals, but the process itself was fruitful. Therefore, being flexible is important in these experimental approaches.

These failures were crucial in shaping my design approach, emphasizing thorough research, experimentation, and adaptation. They reinforced that creativity often comes through iterative learning and that setbacks are an integral part of the process. Most importantly, I learned the value of being flexible with goals and maintaining an open mind.”

What is your relationship with social media? What is the impact of social media on your work as compared to the “real” world?

Erco Lai:

“My relationship with social media is strategic and purposeful. It serves as a platform to showcase my work, connect with other designers, and stay updated on industry trends. While social media amplifies my reach and provides valuable feedback, the real-world interactions and hands-on experimentation are crucial for developing my designs. Both realms complement each other, with social media enhancing visibility and engagement, while real-world experiences drive creativity and innovation.

To be honest, I struggle with social media a lot. On one hand, it helps build networking and collaboration; on the other, it brings anxiety and overwhelming information. Since my focus is on materials and physical objects, presenting them in the real world is vital. However, offline events are relatively short and temporary. While online sharing can reach more people, it is often too vague to yield concrete results. This dilemma is one I believe many people face today. I don’t have a definitive answer yet, but I tend to focus on the real world for now, hoping AI can help me navigate this in the future.”