Cultura

Zero Formaldehyde operation

Formaldehyde is contained in many products that we use daily but what is it and what are the risks we take when we come in contact with it?

 

 

La formaldeide, o aldeide formica, a pressione e temperatura ordinaria è un gas incolore, dall'odore pungente. Molto nota a livello industriale è anche la soluzione della formaldeide in acqua, composto che prende il nome di formalina e che viene impiegato come disinfettante industriale, come conservante nei laboratori medici ma anche in campo alimentare.
La formaldeide, la cui molecola fu scoperta a metà del 1800 da un chimico tedesco, ha la proprietà di uccidere batteri, funghi e virus, perciò viene largamente impiegata come disinfettante e conservante in moltissime produzioni industriali: mobili, vernici, truciolati, colle, detersivi, materiali isolanti e anche nel settore tessile.

Essendo un gas, viene rilasciato nell’aria, provocando irritazioni e bruciori a occhi, naso e gola, ma anche cefalee, stanchezza e malessere generale.  Oltre a questo, provoca dermatite per contatto, attacchi di asma, tosse, stanchezza, sonnolenza, emicrania, nausea e vertigini.
Ovviamente la gravità dei sintomi cresce con l’aumentare della sua concentrazione nell’aria e anche molto in base alla salute degli esposti, alla loro età e alla loro suscettibilità alla sostanza.  

L’Agenzia Internazionale per la ricerca sul cancro, l’AIRC, l’ha inserita sin dal 2004 nell’elenco delle sostanze considerate cancerogene per la specie umana: l’esposizione a quantità consistenti di formaldeide è infatti potenzialmente letale.
Viene spontaneo pensare sia dunque bandita dal mercato ma purtroppo non è così. La normativa ne impedisce l’utilizzo in larga scala permettendone l’impiego in bassi dosaggi non azzerando così il pericolo per la salute.

Nel settore tessile viene utilizzata in resine chiamate “antipiega” usate per migliorare la stabilità dimensionale dei manufatti. Tali sostanze vengono introdotte nelle fasi di finissaggio di tessuti cotonieri  con lo scopo di ottenere effetti di stabilità e mano resi indispensabili dalle aspettative del mercato, rimanendo, come detto, altamente nocive per l’uomo e l’ambiente.

Dalla fine degli anni '80 hanno acquisito maggiore importanza le informazioni riguardanti la presenza di sostanze chimiche pericolose nei materiali tessili e con loro è cresciuto anche il livello di allarme tra i media e le associazioni dei consumetori.
A causa di ciò, numerosi Paesi Europei hanno iniziato a studiare le problematiche legate a questo fenomeno e contemporaneamente sono nati diversi marchi ecologici che basano i loro prodotti tessili sulla eco-compatibilità dei processi e sulla non tossicità per gli utilizzatori finali. Proprio come l'Opificio che, essendo un'azienza al 100%  formaldehyde free  , dimostra che i tessuti possono essere di altissima qualità ed estetica ed essere prodotti nel rispetto dell’uomo e dell’ambiente. I tessuti l’Opificio non contengono formaldeide né altri tipi di sostanze nocive.

FederlegnoArredo , dall'aprile 2015 è diventata partner del progetto di ricerca Eco-Presswood che ha preso il via nel marzo 2014. Tale progetto, coordinato dai centri di ricerca INSPIRALIA e CETEM, punta a sviluppare un nuovo tipo di resina termoindurente priva di formaldeide. Cosa che assicura numerosi benefici ambientali ed economici per le aziende e i lavoratori. Inoltre, in questo modo, le imprese possono accedere più facilmente a mercati in cui vigono restrizioni severe, quali Canada, Giappone e USA.

L’ EPA (Environment Protection Agency), infatti, ha definito, a partire dal 1° giugno 2018, l’entrata in vigore negli Stati Uniti d’America del regolamento relativo all’emissione di formaldeide dai prodotti compositi di legno (Formaldehyde Emission Standards for Composite Wood Products Rule) adottando i limiti di emissione di formaldeide fissati dal CARB (California Air Resources Board).
Questa norma impone a produttori, importatori, distributori e trasformatori di prodotti compositi di legno il rispetto dei limiti di emissione di formaldeide.
I prodotti importati in America o i loro imballaggi dovranno poi essere etichettati come conformi al Titolo VI del TSCA  (Toxic Substances Control Act) riportando il nome del produttore, il numero di lotto e la dichiarazione che il prodotto è conforme alle normative.

Formaldehyde, at its ordinary pressure and temperature, is a colorless gas with a strong smell. The solution of formaldehyde in water, a compound named formalin which is used as an industrial disinfectant, as a preservative in medical laboratories but also in the food sector, is also very well known in the industrial world.
Formaldehyde, whose molecule was discovered in the mid 1800 by a german chemist, has the property of killing bacteria, fungi and viruses, therefore it is widely used as disinfectant and preservative in many industrial productions: furniture, paints, chipboards, glues, detergents, insulating materials and also in the textile sector.

Being a gas, it is released into the air, causing irritation and burning of the eyes, nose and throat, but also headaches, fatigue and general malaise. In addition to this, it causes dermatitis, asthma attacks, coughs, fatigue, drowsiness, migraine, nausea and dizziness.
Obviusly the import of the symptoms grows with the increase of its concentration in the air and also according to the healt of the people exposed, to their age and to their susceptibility to the substance.

The International Agency for Research on Cancer, AIRC; has included it since 2004 in the list of substances considered carcinogenic for the human species: exposure to substantial amounts of formaldehyde is, in fact, potentially lethal.
Therefore, It is spontaneous to think that it is banned from the market but unfortunately it is not. The legislation prevents its use on a large scale allowing its use in low doses, thus not eliminating the danger to health.

In the textile sector it is used in resins called “anti-crease” used to improve the dimensional stability of the products. These substances are introduced in the finishing phase of cotton fabrics in order to obtain stability and the surface feel effects that are essential for market expectations, remaining, as mentioned, highly harmful to man and the environment.

Since the end of the 1980s, information concerning the presence of dangerous chemical substances in textile materials has become more important and the level of alarm between the media and consumer associations has also increased with them.
Because of this, many European countries have begun to study the problems related to this phenomenon and at the same time several ecological brands were borned, which base their textile products on the eco-compatibility of the processes and on the non-toxicity for the final users. Just like l'Opificio which, being a 100% formaldehyde free company, demonstrates that the fabrics can be of the highest quality and aesthatics and be produced in respect of the human being and the environment. l'Opificio's fabrics contain no formaldehyde or other types of harmful substances.

FederlegnoArredo, since April 2015 became partner of the Eco-Presswood research project that started in March 2014. This project, coordinated by INSPIRALIA and CETEM research centers, aims to develop a new type of thermosetting resin without formaldehyde, This will guarantee numerous environmental and economic benefits for companies and workers. In addition, in this way, companies are easily able to access markets where there are severe restrictions such as canada, Japan and USA.

EPA (Environment Protection Agency), in facts, has defined, starting from 1 June 2018, that the regulation about the emission of formaldehyde from wood composite products (Formaldehyde Emission Standards for Composite Wood Product Rule) take effect in United States of America adopting the formaldeyde emission limits set by CARB (California Air Resources Board).
This regulation impose on producers, importers, distributors and transformers of composite wood products the compliance with formaldehyde emission limits.
Products imported into America or their packaging will then have to be labeled as conforming to the TSCA Title VI (Toxic Substances Control Act) with the name of the manufacturer, the lot's number and the declaration that the product complies with the regulations.

Often in Italy there are no clear indications from the competent authorities on how to act. To solve this problem, in November 2016, Lombardy Region published an operative proposal for the management of formaldehyde risk in a company. This document provides useful informations that may represent a point of reference also for non Lombard companies.

This matter is also discussed at the European Commission that is proposing to limit the exposition to carcinogenic, mutagenic and toxic substances for the reproduction (CMR) subduing the entrance on the market of some products that contains them, under the Restriction Procedure.

When the application of this potential restriction will be en force, all garments and relative accessories, the textile products different from garments that, when used in a reasonable matter, will be on contact with the human skin in a similar way as a garment, so as the shoes that contains the listed substances, independently if produced in EU or imported in EU, they won’t be allowed anymore on the EU market.

The proposal aims to ban 33 substances CMR of 1A and 1B category of the following group of substances:

Compound of Cadmium, Chrome, Arsenic and Lead
Benzene and polycyclic aromatic Hydrocarbon
Chlorinated aromatic Hydrocarbon
Formaldehyde
Phthalate
Polar aprotic solvents (termine chimico, non sono riuscita a
Azo-dyes and Arylamine

The European Commision proposal is available at this ….link

For now, while we wait for the use of formaldehyde to be definitively benned, we can follow some precautions, to reduce its danger:
To avoid using products that contain formaldehyde by choosing detergents, paints, clothes, etc. of biological or, at least, natural origin.
To often ventilate the house's rooms to avoid the accumulation of formaldehyde released by the use of detergents, solvents, glues, furnitures, etc. in the rooms.
To carefully close the bottles of cleaning and maintenance products and confine them in tightly closed cabinets and away from food.
To always use natural materials in the construction or rennovation of houses and always prefer natural fabric for upholstery and interiors.

 

The colorful life of the designer Barbara Bertoldo

Barbara Bertoldo talks about herself and her job through colors in the interview of the blogger Carlotta Berta at the Salone del Mobile in Milan

It has been established that colors have a great influence on the mood and on the psychophysical state of people. Our brain suffer the impact of their different shades activating different chemical reactions that can increase or decrease the production of hormones by stimulating emotions and moods such as sadness or cheerfulness.

 

The “power of colors” is used in chromotherapy, an alternative medicine that uses colors as a therapy for the treatement of diseases. According to the supporters of chromotherapy, colors help the body and the psyche to find again their natural balance and they have physical and psychic effects that can stimulate the body and calm certain symptoms.

 

In the same way this concept can also be applied to marketing: in a famous study of 2006, called “Impact of Color in Marketing”, the researchers have shown that the 90% of decisions about the impulse on the purchase of a product can be conditioned by the colors.

 

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Moodboard Ultra Violet

Pantone Ultra Violet color of the year, Monet protagonist of the moodboard 2018

Pantone 18-3838 was elected color of the year. Carlotta Berta talks about it in her Blog, inspired, for the moodboard, by the fabric of the l'opificio's collections.

 

Claude Monet, loved french impressionist who lived between the nineteenth and twentieth century, in the last decade of his life he found himself having to overcome the cataract, illness that prevented him from a clear vision and a correct perception of the colors, things that made painting difficult for him. After several operations to which he underwent he managed to see again but with the ability to perceive ultraviolets ray.

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l'Opificio velluto tessuto con il pelo

Discover the VELVET = hair fabric

The hair is what marks the velvet from the other fabrics.

Velvet is the fabric which, more than the others, with is soft touch, brushes our senses with intensity.

The unified velvet (also called smooth or cut) contemporary production is achieved with the double piece technique and the obtained velvets are then submitted to different finishing treatments.

For example, a lot of velvets produced on double piece looms are first dyed in piece and then finished with special ravelling, trimming and polishing machines in order to achieve a perfectly uniform hair, the typical softness to the touch and brightness.

velluto: tocco soffice per accarezzare con intensita in nostri sensi

Not all the velvets are the same, the differences depend, first of all, on the chosen yarns for the hair weaving, which are determining for the brightness and softness.

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mariko kusumoto sculpure

Mariko Kusumoto: the preciousness of textile art

Mariko Kusumoto, an eclectic Japanese living in Massachusetts, has started her artistic life working with metal. She used to create complex, thus minute sceneries, using the heat to shape copper and bronze to her fantasy. Then she decided to experiment for her art something completely different, almost opposite.

Where strength was required to shape the metal masterpieces giving neat and unmistakable results, textile represents an innovative, light almost evanescent alternative: a new challenge.

Based on the antique Kanzashi tradition where the Japanese women use to arrange wonderful hairstyles, Kasumoto started to elaborate silk and acrylic yarns, transforming them in brilliant jewels, transparent cases of small wonders, kaleidoscopic landscapes of jellyfishes and sea anemones; true sculptures to be wearing and to make a dress precious.

Accessories and piece of arts, which seem to arise from the deepness of the oceans. Masterpieces in front of which arises a sense of childish wonder, as if the artist would have given shape to our most intimate dreams taken us into a world of levity were everything is possible.

We are fascinated by Mariko Kusumoto art, as it is pure emotion. It is the spreading wings of the creative process, even more magnified by the lightness of the material used. Silk, yarns and above all polyester that, robust thus delicate, it is perfect for the modelling process.

Fascinated by the beauty of nature and the Japanese culture, the artist affirms that she is inspired by anything that attracts her. Through her elaboration process, she donates a new evanescent life, being a seascape or a contemporary horror film.

Mariko Kusumoto works are placed in important public and private collections; her works have won many important awards such as the Niche Awards, The Grant, Massachusetts Cultural Council and the Juror’s Awards, Craft Forms 2015.

They are actually on exposition at the Mobilia Gallery – Cambridge.

Fuorisalone 2017

Fuorisalone 2017 - BreraDesignDistrict – BreraDesignApartment :
l’Opificio dresses The Visit

The major Event of BRERADESIGNDISTRICT DURING MILANO DESIGN WEEK WILL TAKE PLACE AT VIA PALERMO NR.1 – THE VISIT

Fuorisalone is the whole mix of events distributed in different areas of Milan that take place during the Salone Internazionale del Mobile.
Fuorisalone is not a fair. It all started at the beginning of the ‘80 as a spontaneous event sought after by some companies of the furniture sector and of the industrial design. Nowadays, it involves many different sectors such as: automotive, technology, telecommunications, arts, fashion and food.
Since many years now, Fuorisalone is an unmissable appointment of SalonedelMobile.Milano fair, especially for those who love design. It is a melting pot of ideas and creativity, Fuorisalone has overcome the boundries of a secluded space to bring the last trends of the Italian and international creativity along the streets and the neighbourhoods of Milan.This year, for the 56th edition of SalonedelMobile.Milano, the Fuorisalone proposes at the BreraDesignDistrict, The Visit. An apartment in the heart of the Brera neighbourhood, that for an entire month it will be the location to live in and host in the Italian way. l’Opificio precious cotton velvet dresses the apartment with colours that declines from fawn to nude rose, embellished by distinguished sartorial details.
The idea behind the project of Arianna Lelli Mani e Chiara Di Pinto, creative directors of Studiopepe, was to represent the rite of visiting, as a moment of confrontation, but above all of welcoming. A closed space, which opens itself to the visitor showing the intimacy of who lives in, developing and dressing the rooms. An inner place, thus historically layered, an apartment of late ‘800 which still has large windows, stuccos and beautiful wooden floors, enriched and decorated by wall drawing and velvet drapery which act as a common thread among the different rooms.
Of importance is also where the apartment is placed: the Brera neighbourhood, an area traditionally connected with arts that nowadays represents one of the most prolific design districts.
To the Studiopepe project, outstanding Italian company have adhered, selected for their experience and reliability, such as Agape. Astep, Atelier de Troupe, AYTM, Bitossi Home, Bonotto, Bulthaup, CC Tapis, Cedit, Fenix, Florim, Green Wise, Lambert&Fils Studio, Leftover, Molteni&C, Pietro Russo, Sfera, Shuj, Sikkens, Spotti Edizioni, Valverde, Vitra.
Opened from 31st March to 10th May, The Visit is in Via Palermo nr.1 – BreraDesignApartment. You can visit on reservation.

Game of Thrones: Sansa wears Treccia fabric, a l’Opificio creation

We are pleased and honoured that the magnificent wedding dress of Sansa, one of the main characters of the TV series Game of Thrones , has been realized with Treccia fabric from l’Opificio Vocalese collection.
It took one year of study, design and tests to create such a fabric. A special two-weft lampas, which makes the fabric final result unique both to the sight and to the touch.
In the last episode of season 5 (Mother’s Merci), beautiful Sansa is forced to marry cruel Ramsay Bolton. For this occasion, Michele Clapton, costume designer and maker of Westeros and Essos fashion, who worked together with Michele Carragher, creator of beautiful embroidery, chose Treccia fabric to convey the approaching of winter and to underline Sansa’s social role.

Collezione Vocalese Treccia

Game of Thrones is an American fantasy drama television series, born as TV adaptation of A Song of Ice and Fire, George R. R. Martin's series of fantasy novels.
The series is set on a fictional world, composed by the western (Westeros) and the eastern continent (Essos). The biggest and more civilized centre of the western continent is the capital city King’s Landing, where there is the Seven Kingdoms’ Iron Throne. The series chronicles the violent dynastic struggles among the realm's noble families for the Iron Throne, full of murky power plays.
The series conquered millions of fans all over the world thanks to its plot, epic characters and to the alternation of human and rough fantasy elements.
Furthermore, it has received widespread acclaim by critics, particularly for its acting, complex characters, story, scope, and production values, although its frequent use of nudity, violence, and sexual violence has attracted criticism.
The series has won 26 Primetime Emmy Awards, becoming one of most rewarded TV series by Academy of Television Arts & Sciences.

Collezione Vocalese Treccia

ART AND FABRIC: PAOLA ANZICHE’

TEXTILE ARCHITECTURE, WOOL, SOIL, JUTE AND OTHER STORIES

Paola Anziché Paola Anziché has always been experimenting and expressing through weaving and knitting. A creation focusing on materials, with the pleasure of lingering on a shape and make it appear.

The architectural breath of their works strongly arises in her using weaving to create closed, cosy and intimate spaces, paying homage to the theory stating that the origin of architecture coincides with the beginning of weaving. Almost to demonstrate that weaving is a technique born to create spaces rather than to dress bodies.

This is how Paola describes her work:

“I simply use a matter –fibre- and I work it, so as to test it. I cultivate the doubt: I don’t know how it will end up. I hardly ever decide in advance the final result.”
“I have always been thinking that unplanned circumstances have a great role and that, generally, chance ‘open’ and help developing the work. The fact of not exactly know what I will create and which the final result will be, helps in creating new potentialities, because the artwork itself is offered to whom admire it (or touch it and move it), open to any possibilities of being developed even by others. In the “braids” case – works made with cloth – shapes arise alone, without me wanting expressively to create handbaskets. These shapes are rather the result of the impossibility of braid and twist together these materials. This limit produced the final shape.”
Materials excite me. My approach starts from there, when I find materials I like, the first thing I do is try to work them and see how materials react and what result comes to life. I like saying that ‘seeing with hands’ is the expression which best describes my work.

Here the full interview to the artist

PAOLA ANZICHE’ lives and works in Turin and Milan. In April, during the MIlan XXII Triennale International Exhibition, her works will be shown at the exhibition “21st Century. Design After design”. In 2017 she will show at Turner Contemporary curated by Karen Wright, Margate, United Kingdom.

Photo courtesy of Paola Anziché

“A LIVING SPACE” BY KIT KEMP

A VOYAGE THROUGH KIT KEMP'S INTERIOR DESIGN

In A Living Space, internationally acclaimed interior designer Kit Kemp takes you on a vibrant, inspiring personal voyage through the many spaces she has designed. Here she shares the tools of her trade – her passion for materials such as fabric and embroidery, wood and stone; the innovative way she dares to mix colour and pattern with old and new furniture, textiles and objects; the joy in the wit and humour of contemporary art, dogs and unexpected details; and most importantly, her ethos that design is not something to fear; but instead something to be embraced and enjoyed.

In this book, Kit Kemp brings together a visual feast of images to show that when it comes to design, there are no rules. It is about trusting your instincts, being prepared to take some risks and being clever with affordable and accessible pieces rather than always needing to blow the budget, and above all having fun.

ART AND FABRIC FRANCESCA LUPO, INTERIOR SCENOGRAPHIES

With Harridge cloth cuttings, newspaper and thin paper wood or plastic paper, Francesca Lupo realizes beautiful collages. Her artworks are scenographies made with paper and fabric: reinvented collages put together to create spaces and interiors inspired to 1950s design.

In her artworks -especially the ones representing interiors scenes- objects and decors, such as stamps turning into paintings hanged to the walls, fragments of handwritten letters or old magazines turning into wallpaper, are the finishing details. Details that want to lead the observer on a travel through time, even beyond the painting itself.

For Francesca Lupo the pure artistic expression, which during years has been essential and silent nourishment of her passion for architecture, with which has played and experimented, is expressed and becomes art for the first time at Paratissima 2012.
There is where she got the first recognition for her art and she has been chosen within the 15 best artists of the exhibition. Since then, she started participating to several collective exhibitions in art galleries of Turin, Bari, Genoa, and then, finally, in February 2015, London.