Interview about 4x4 Bench, winner of the A' Furniture Design Award 2024
The 4x4 bench has been designed and constructed with a reuse approach, utilizing recycled materials. The bench is made using 16 recycled paper tubes, each measuring 160 centimeters in length. The challenge in designing this bench was placing the tubes on the smallest possible contact surface of the circle, as the tubes tend to slide on top of each other, requiring a larger contact surface for stability. To solve this challenge, recycled plastic pieces were designed and produced to prevent lateral movement of the tubes on each other.
View detailed images, specifications, and award details on A' Design Award & Competition website.
View Design DetailsThe journey began with a question: What if overlooked industrial waste could become structural? Recycled paper tubes, often discarded after use in carpet manufacturing, became my primary material. Each tube, with its inherent strength and uniform dimensions, was reimagined not as waste, but as a modular unit. I selected 16 tubes, cut them to 160 cm length, and arranged them in a grid-like pattern. Through careful structural balancing and load distribution—combined with plastic connectors—this configuration evolved into a bench that could support up to 230 kg. The success lies in designing with the logic of the material, not against it.
During initial prototypes, I realized that cylindrical objects tend to roll or slide, compromising structural reliability. This instability led me to design custom-fit recycled plastic stabilizers, placed at contact points to lock the tubes in position. These pieces not only solved the functional challenge, but also added visual rhythm and contrast to the design. I arrived at the final form after multiple rounds of prototyping, seeking a solution that was both minimal in appearance and maximum in effect—allowing the tubes to retain their raw identity while functioning as a solid bench.
I believe materials carry their own story, and that true sustainability lies in not masking it. In the 4x4 Bench, I chose to keep the raw character of the paper tubes—scratches, faded textures, slight inconsistencies—because they contribute to the object’s authenticity. Instead of polishing or covering these traits, I frame them through contrast: by designing precise plastic connectors and clean alignments, the rawness becomes intentional. This contrast informs my entire process—refining the assembly while allowing materials to remain honest.
I treated technical information as a design layer, not an afterthought. Much like how industrial objects bear markings for clarity and traceability, I embraced this language by embedding a simplified specification label directly on the bench. It serves dual roles: communicating data and enhancing the object’s identity. The typography and placement were carefully chosen to echo industrial systems, aligning with the bench’s concept of “structured repurposing.” This approach reinforces the narrative that beauty can coexist with information—form doesn’t need to hide function.
The 4x4 Bench is a statement that post-use doesn’t mean post-value. By demonstrating how discarded materials can be transformed without excessive processing, I hope to encourage designers and manufacturers to rethink waste—not as a problem to eliminate, but as a resource to reframe. If more designers engage with overlooked materials and modular logic, furniture can become a site of circular innovation. The bench is not just a seat—it’s an invitation to question production, permanence, and possibility.
The idea for dual-purpose straps emerged from a desire to reduce parts and embrace design economy. Instead of adding separate structural supports and handling components, I experimented with nylon-reinforced recycled bands that could simultaneously compress the tubes and serve as grab points. After several tension tests and ergonomic evaluations, I finalized a system that was both functional and expressive—emphasizing the bench’s modular, industrial character while remaining lightweight and efficient.
The core logic of the 4x4 Bench—modularity, repetition, and reuse—is inherently scalable. I envision expanding it into a system of seating, tables, and shelving that share the same recycled components and connection logic. By creating a kit-of-parts structure, users or institutions could assemble or disassemble furniture as needed, reducing waste and encouraging adaptability. The goal is to maintain consistency in material sourcing while opening new typologies within the same ecosystem.
The main challenge was balance: recycled materials often come with limitations in softness, breathability, or finish. I tested several textile blends before settling on a combination that provided comfort while maintaining recycled integrity. The clear plastic covers, although rigid, were chosen to highlight the interior fibers and remind users of the material’s origin. Careful padding distribution and stitching allowed me to soften the experience without compromising transparency or ethical sourcing.
The recognition affirmed that ethics and aesthetics are not mutually exclusive. It has encouraged me to push forward with even bolder sustainable ideas, knowing there’s an audience and platform for work that prioritizes long-term impact over short-term trends. Commercial viability, in my view, can stem from storytelling, education, and honest materiality—values that today’s conscious users increasingly seek in design.
I hope the 4x4 Bench serves as an invitation to look closer at what's already around us. Designers have the power to elevate discarded objects—not by masking them, but by reframing them. If we collectively reimagine waste as a medium, not just a problem, we can shift design culture toward more meaningful, responsible creation. The bench is just one example of how constraint can spark creativity—and I hope it inspires others to experiment within their own local material ecosystems.
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