In Copenhagen, the Project Materia initiative, in collaboration with Mater, has unveiled an innovative exhibition that redefines how we perceive and value materials. This showcase highlights Matek, a groundbreaking composite created from discarded coffee grounds, wood waste, and recycled plastics. Through the artistic interpretations of nine diverse designers, the project elevates this reclaimed substance from mere refuse to sophisticated artistic and collectible design objects, inviting contemplation on the origins and inherent worth of materials in contemporary design.
This initiative builds upon the foundational work of Project Materia, an endeavor established by Tableau and Edition Solenne. Its core mission is to investigate the fluid journey of materials across artistic practices, the realm of collectible design, and the tapestry of cultural heritage. The previous iteration in 2025 delved into traditional mediums like bronze, marble, and glass. This year's focus, however, shifts dramatically towards a substance born from industrial remnants, posing a provocative question: can a surface manufactured through sustainable reuse command the same respect and artistic dialogue as time-honored natural stone?
For its premiere in Copenhagen, each of the nine invited artists was tasked with crafting a singular piece using Matek. This common constraint, far from limiting, fostered a rich diversity of individual expression. The participating artists, including Cathrine Raben Davidsen, Sophie Dries, Willem van Hooff, Lea Colombo, Onno Adriaanse, Jacob Egeberg, Forever Studio, Filippo Andrighetto, and Oliver Thygesen, bring a wide spectrum of expertise, from sculpture and architecture to photography and artisanal construction, enriching the exhibition with their varied perspectives.
The unifying element across all exhibits is Matek, the innovative material developed by Mater. This composite skillfully combines residuals from coffee processing and sawdust from the timber industry with either recycled plastic or a plastic-based substitute. It is then meticulously shaped using established furniture manufacturing techniques. While its finished appearance might initially evoke the aesthetics of natural stone, marble, or terrazzo, understanding its composition reveals a deeper narrative of circularity. It highlights a process where food byproducts, wood particles, and previously used plastics are given a renewed physical existence, embodying a powerful message of sustainable resource management.
The power of the Materia x Mater exhibition lies in the dynamic interplay between the shared medium and the vastly different creative approaches of the artists. For instance, Raben Davidsen's 'Parsifal' screen reflects her background in painting and ceramics, while Dries' 'Stria' candleholders are presented as profound 'domestic totems'. Van Hooff's 'Archive Cabinet' is deeply personal, featuring his sketches etched into the surface, serving as a contemplative tribute to his own life experiences. Adriaanse's 'Pyrite Side Table' pushes boundaries towards a more raw sculptural form, mirroring the intricate patterns found in crystal formations.
Other creations extend Matek's application into broader spatial and atmospheric realms. Colombo's 'ATOM' stools ingeniously interlock to form floral-inspired structures. Forever Studio's 'Patos' stools, rendered in a darkened finish, evoke the robust solidity of tree trunks. Egeberg's 'Monolith' table, crafted in Copenhagen, presents a brutalist-influenced arrangement of substantial blocks. Thygesen's 'Rooted' table thoughtfully integrates Douglas Fir wood, supported by a cluster of rounded legs. Finally, Andrighetto's 'Space Invader' side table, inspired by the classic 1978 video game, showcases a distinct pixelated aesthetic.
Located at Købmagergade 3, Copenhagen, the exhibition successfully integrates waste-derived materials into the prestigious sphere of collectible design. It does so without merely reducing circularity to a superficial buzzword. The material's inherent density and visual resemblance to stone allow for direct comparisons, yet its narrative transcends the romanticized origins typically associated with quarrying, kilns, or foundries. Instead, it tells a story of transformation, where existing resources are reshaped through pressure, molding, and the skilled hands of artists who treat it as a primary medium, not just a substitute.
This innovative exhibition, Materia x Mater, will embark on an international tour following its Copenhagen debut during 3daysofdesign. It is scheduled to travel to Paris in the autumn of 2026, followed by London in 2026 or 2027, and subsequently to the United States in 2027. This extensive tour provides a broader context for the project, particularly as the design world increasingly scrutinizes how materials are sourced, valued, and integrated into creations. It highlights a critical juncture where sustainable practices and artistic innovation converge to redefine the future of design.