From pineapple leaves to cow dung, these Southeast Asian designers are using unconventional natural materials in their work

The process begins in the province of Bukidnon, where the pineapple leaves are collected, cleaned and sun-dried before being transformed into a pulp. The fibres are then reinforced for durability and moulded into sheets, creating a material that is both soft and strong, with a subtle natural sheen.

Brushed fibres are entwined into carpets, sacks and tapestries, while unbrushed fibres lend themselves to tapestries and woven baskets. Even residual by-products can be repurposed into architectural panels and acoustic boards.

A different approach to the pineapple life cycle is explored by Ananas Anam, a Philippines-based sustainable textile firm founded by Carmen Hijosa. Ananas Anam introduced Piñatex, a vegan, non-woven material made from discarded pineapple leaf fibres, which are combined with polylactic acid extracted from waste corn, and finished with resins and pigments.

Sourced from partner farms in the Philippines and finished in Spain, Piñatex transforms agricultural waste into an eco-friendly, cruelty-free alternative to leather. With 95 per cent renewable bio-based content, it is also water-resistant, breathable, and available in a variety of textures and finishes. Recent collaborations include Irene Van Ophoven’s geometric Piñatex wall panels, which were displayed at Première Vision Paris 2023, and Tamasine Osher’s award-winning Purton chair.

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In Thailand, Yothaka offers its own take on pineapple fibre paper. The brand has been experimenting with unconventional natural materials for a long time, having transformed water hyacinth, yan lipao (a type of vine from southern Thailand) and vetiver into creative products over the years.

Designer Suwan Kongkhunthian and the other members of the Yothaka team were also early adopters of pineapple fibre, working this organic material into innovative furniture that is lightweight yet durable, and boasts a distinctive texture. Some of the brand’s designs that use pineapple fibre, such as the Nut Bench, were presented as early as 2008.

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Another bio-based material with a wide range of applications is Malai, crafted from bacterial cellulose grown on discarded coconut water, a by-product of the coconut industry in Southern India. Developed by product designer Susmith Suseelan from Kerala and Slovak material researcher Zuzana Gombosova, Malai transforms agricultural waste into a durable, leather-like material through a natural fermentation process.

The material resulting from this procedure is reinforced with natural fibres, resins and gums, making it flexible, lightweight and shape-retentive. It is then formed into sheets or seamless three-dimensional objects, and optionally dyed using plant-based hues.

Malai can be hand sewn, machine sewn, cut, laser cut, embossed, glued and skived, and it is currently used in footwear, accessories, furniture and interior applications such as cushions, storage boxes and surface panels. Though biodegradable, it can last up to eight years when properly cared for. The material is already making its way into markets across India, Hong Kong, Japan, the US, and Europe.

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One design studio experimenting with a unique organic material in Indonesia is Mycotech Lab, under the stewardship of co-founder and chief executive officer Adi Reza Nugroho. The studio turns this innovative material, mycelium—which essentially comprises mushroom filaments—into modular mycelium bricks, decorative lights, and small furnishings.

The studio’s signature Legowo blocks are crafted from a mycelium composite with natural insulation properties, interlocking to allow easy and personalised assembly possibilities that boast durability and structural integrity.

Other designs by Mycotech Lab include the Mycolight, a lamp that is not only appropriately mushroom-shaped but also “grown” using mushrooms, as well as the stackable, modular Shrum stool, a remarkably sturdy seat crafted from agroforestry waste that is bonded by mycelium.

Singapore-based design studio Panelogue brings nature indoors with the Organoid range—biophilic surface panels crafted in the Austrian Alps. These unique panels incorporate organic elements such as alpine hay, flower petals, moss, rosebuds, coffee grounds and even agricultural by-products such as sunflower seed hulls and spelt. The result is a range of multisensory organic surfaces that engage sight, touch and scent.

These Organoid panels are untreated by default, meaning they retain their raw character and are mostly suited to low-traffic indoor applications such as feature walls, furniture pieces, and decorative elements. For added durability or high-traffic applications, the panels can be treated with oils, varnishes, glass or resin.

Beyond Organoid, Panelogue also brings in natural surface materials from other countries, such as cork from Portugal and mycelium-based panels by Italian brand Mogu. The studio also crafts engineered wood surfaces, inspired by founder Emily Sim’s experiences in Japan, where she was first exposed to the negative environmental impact of the timber industry.

For nearly half a century, Zyrrah’s Arts and Crafts has transformed capiz shells into exquisite décor and homewares—with a penchant for Christmas ornaments—showcasing the rich craftsmanship of the Philippines. The brand’s recent designs, including plates and napkin holders accented with delicate gold details, bring a touch of sophistication to table settings.

Founder Joy Soriano began her journey back in the 1970s, trading handcrafted objects such as bags and shoes made from locally sourced fabrics, and eventually designing her own. Over time, her passion began to gravitate toward capiz; this lustrous shell is abundant in local waters and conveniently repurposed for craft and design once the mollusc meat is harvested by fishermen for dining.

Valued for its versatility and translucent beauty, capiz is shaped into a range of decorative pieces and even furnishings, highlighting the country’s artisanal heritage.

Based in Lembang, Indonesia, Cowka is redefining design by transforming agricultural waste—specifically cow dung—into imaginative, functional pieces. Founded by designer, researcher and educator Adhi Nugraha, the brand embraces nature’s cycles of renewal, proving that waste can be a meaningful design element. By extracting and refining the natural fibres present in the dung, Nugraha developed a lightweight, durable composite that can be moulded into various forms.

First showcased internationally at the Find – Design Fair Asia Emerge showcase in 2022, Cowka’s designs have since attracted global interest, reinforcing the viability of alternative materials in contemporary design and craftsmanship. Cowka’s Nunduk lamp, Tanduk lamp and Cow Dung speaker highlight the potential of this unconventional material, earning a place in Life Cycles: The Materials of Contemporary Design, an exhibition at The Museum of Modern Art in New York.

Committed to empowering its community, the company also provides local training and employment opportunities, and plans to make its creations available to customers this year.

Not many interior designers and architects are bold enough to experiment with organic materials in their projects, but Goy Zhenru of Goy Architects has been a proponent of natural materials from Southeast Asia for some time. The Singapore-based architect is known for embracing regional materialities and vernacular materials such as banana fibre, rattan, terracotta clay and mulberry bark, as well as handcrafted techniques and the artistry of local makers.

Banana fibre is one of her most cherished materials in this lineup, having worked extensively with studios such as Naruse Kiyoshi’s Greenman Banana Paper Studio in Ubud, Bali. The architect makes use of this unique paper and its lineup of other organic materials alongside sustainable architectural techniques, such as implementing site-specific measures and harnessing passive cooling.

Beyond reducing the carbon footprint of modern construction, Goy also advocates for the revival of traditional craftsmanship practices through the inclusion of reclaimed and natural materials, infusing projects with authenticity and cultural depth.

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