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No Smoking The Future

Award category
Shaping a circular industrial ecosystem and supporting life-cycle thinking
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NEW EUROPEAN BAUHAUS AWARDS: existing completed examples
Project title
No Smoking The Future
Full project title
Line of furnishing products made from waste paper Cradle to Cradle from printing industry production

Erotic and Heretical

The material is 100% natural: it does not release any harmful products into the domestic environment and becomes a nutrient for the Nature if its use is finished.

Because is erotic the desire to exist in communion with Nature, leaving her a positive contribution. Because it is heretical in relation to traditional products, both in terms of ecological material and sustainable production.

Evolution is the jubilation of Eros and Eros is the vital drive, the joy of living

What was the geographical scope of your project?
Does your project address mainly urban or rural issues?
It addresses urban-rural linkages
Does your project refer to a physical transformation of the built environment or other types of transformations?
It refers to other types of transformations ('soft investment')
Has your project benefited from EU programmes or funds?
Has your project won an EU prize?
Your project is fully completed?
When was your project implemented?
How did you hear about the New European Bauhaus Prizes ?
Word of mouth (colleagues, friends …)
On whose behalf are you submitting the application?
As an individual
Please provide a summary of your project

Chair and furniture line made from Cradle to Cradle waste paper from the printing industry.

With these products, NoSmokingTheFuture seeks to use new techniques and new gestures to address a necessary change in the personal and collective imagination.

Production began in 2012, but in 2022 the project was further developed by involving BRAUNGART EPEA (Germany).

The result of this collaboration is a material that, in addition to being recycled, is fully implementable in nature, leaving a positive contribution in terms of organic nourishment.

The paper comes from a Swiss printing company Voegeli that uses Cradle to Cradle material and supplies the production waste to NoSmokingTheFuture.

The paper is ground with glues, natural dyes and flame retardant. The latter enables the products to comply with fire regulations; it gives the product organic nutrients such as nitrogen and phosphorus, suitable for soil fertilisation.

The idea is well expressed by Gunter Pauli's BLUE ECONOMY theory: using an available resource, in this case waste paper, and increasing its value through creative regeneration of design.

In this way, the company creates sustainable value inspired by cyclical nature using a personal and recognisable aesthetic.

The products are handmade on a mould.

The importance of craftsmanship in the production process generates value by returning thoughts and emotions to the object.

The process is transferable and scalable.

The product line maintains the lightness, aesthetics and colour of the plastic products that were the stars of international design in the 1970s.

Like plastic, the NoSmokingTheFuture material adapts to many shapes and the product line is light, friendly, colourful without being fake and polluting.  

Using the perfect shapes synthesised by industry means accepting as positive everything that humanity has generated in the years of industrialisation. It means grasping the positive message of our humanity to lead us towards the future.

Please indicate the main themes of your project with 5 key words
Please give information about the key objectives of your project in terms of sustainability (including circularity) and how these have been met.
Please highlight how the project can be exemplary in this context

Increasing value through creative design regeneration

NoSmokingTheFuture does pre-consumer upcycling: by reusing waste paper that has not yet passed through the hands of the consumer, it makes the chair and other products of aesthetic quality and high value, not like recycling which downgrades the value of the source material.

Networking with environmentally sensitive companies

Printers have a very high material flow and it often takes several hundred proof sheets before the final result is achieved. By purchasing paper exclusively from Cradle to Cradle printing, you can ensure that both the paper and the printing inks are designed to fit into the biosphere.

Increasing value for safe use and the environment

Glues of natural origin, biodegradable inks of natural origin and flame retardant of organic origin are added to the paper. The material formula has been developed at the request of the Braungart Epea laboratory so that none of the materials used pose any danger during production, use and disposal.

Respecting water

During production, rainwater collected in large historical cisterns is used. As only natural glues and additives have been used, the resulting water is reintroduced into the environment as irrigation and soil nutrients.

Returning human energy

The products are laid by hand on moulds.  The importance of craftsmanship in the production process generates value by returning thoughts and emotions to the object. The process is transferable and scalable.

Creating nourishment for the biosphere

The material is specifically designed to enter the biosphere. All ingredients benefit the stability of the ecological system. Since the resources used for the chairs bring invaluable resources wherever they decompose, they can be considered a positive/climatic product.

With phosphorus and nitrogen from the flame retardant, the chairs contain important nutrients to promote plant growth and soil fertility.

The whole project is exemplary

Please give information about the key objectives of your project in terms of aesthetics and quality of experience beyond functionality and how these have been met.
Please highlight how the project can be exemplary in this context

Being post-industrial: thank you plastic

The product line retains the aesthetics and colour of the plastic products that were the stars of international design in the 1970s. The industry has synthesised perfect shapes in a perfect balance between aesthetics, functionality and ergonomics.

We are all familiar with moulded plastic chair shells, which means that the design of the products is immediately recognisable, leaving only the new significance that lies in the production process and in the regenerated, natural and compostable material.

So the design immediately shows at first sight and/or touch what it means:

"I do not reject what has been of mankind but I feed on its positive sides, the perfect forms synthesized by industry, and I add to it the entropic value of reinsertion into natural cycles using an organic material".

Like plastic, the No Smoking The Future material adapts to many shapes and the product line is light, friendly, colourful without being fake and polluting.  

Being Mediterranean

Understated lines and a bold colour palette as a perfect synthesis of Mediterranean architecture and a symbol of the geographical origin of this project, southern Italy.

The bright colours and organic shapes are also in complete harmony with Nature.

Creating a tactile experience

The textures, whether smooth or rough, emphasise the tactile dimension of these products, the texture and colour creating a poetic experience.

Having a nice B-side, in the case of the armchair

The design is exemplary in this context because it is inspired by nature as a producer of beauty, knowing that:

"When we talk... about the wonderful way in which the wings of a butterfly or the thread of a spider have been designed, we have to keep in mind that from the point of view of sustainability, the "designs" and "technologies" of nature are far superior to human science and technology."  F.Capra

Please give information about the key objectives of your project in terms of inclusion (equal opportunities, public participation, citizen engagement, co-design, universal design, accessibility, affordability, etc.) and how these have been met.
Please highlight how the project can be exemplary in this context

Injecting positive information

The project produces aesthetic pieces with a strong social impact as it injects positive information into the system that can have an effect on the culture of society

Accessibility of all living beings

If we consider mankind to be part of a larger community that includes all the other living beings on planet Earth, the project, once it is finished, is accessible to decomposing organisms such as fungi, lichens, bacteria, protozoa. These play their part by transforming an armchair into food that nourishes the soil and thus also the great plant patriarchs.

Sense of belonging

All this creates a new bond and a strong sense of belonging to the processes of planet Earth.

Easy use

The armchair, for example, is also much lighter than similar products made of other materials, which makes it easier to handle and minimises physical effort. The products can be approached and used by anyone regardless of physical characteristics and abilities.

Easy to understand

The product line can be used by everyone. Having created a new material leads to different experiences, certainly visual but also tactile. When you sit on a NoSmoking chair, it feels different to the touch, as warm as wood and as tactile as stone, conveying the energy of natural materials.

Touch is the sense that is most rarely affected by disabilities, so the information provided by the design is easy to understand for those with different needs and abilities.

Everything is easy to understand, and the uses are simple


A part of the products is competitive in price range with equivalent industrial products (armchairs and lampshades), not making the manufacture of the products too heavy on the buyer: the use of seriality in production allows the company to be aligned with market expectations by reintroducing the manual nature of production which brings the energy of the human back to the product.

The project is exemplary because is simple, easy and light.

Please explain how these three dimensions have been combined in your project.
Please highlight how this approach can be exemplary

All three components moved at the same time, to be cleaned and refined gradually and over time.

Aesthetics is not a value that can be applied later:

it was precisely the need for Beauty that fertilised the whole project.


But even beauty, if it is not the bearer of meaning, is sterile, fatuous and falsely ephemeral.

Because the beauty without meaning is ephemeral and fades quickly like any consumer good, but it is not ephemeral in its passage on planet Earth: producing it has a cost and disposing of it has an even higher one.

How could the NoSmoking chair be beautiful if it were not biodegradable and healthy for the environment?

From nature's point of view, these products are just a moment, a pause of aesthetics and beauty, in the becoming of things: like a flower that blooms and fades, so a chair, in time, will return to the earth and at the end of their life cycle, the products will return to the planet the energy of the materials used because they respect the accessibility of nutrients for all decomposing organisms.

Lightness, textures that create different tactile experiences and ease of use are the result, the reward of having, designed for good, offers good and welcome.

In this, NoSmokingTheFuture is exemplary in the will to do good and the will to do The Good.

This should guide any project and any human action.

Please give information on the results/impacts achieved by your project in relation to the category you apply for

NoSmokingTheFuture products have a positive impact instead of a reduced negative one. They are good instead of bad. The design principle is based on nature, where there is no waste. They are not a danger to people and nature but, rather, they are useful. They are made from nutrients that sustain nature and all living things and can later be used by the biosphere or technosphere.

Waste' does not exist in this sense, i.e. waste - as in nature - is our raw material. Thus, man is understood as an opportunity that makes a positive contribution to our common coexistence on this planet.

The production of the chairs is an upcycling story. Waste paper and scraps from print shops are transformed into healthy, high-quality furniture. Printers have a very high material flow and it often takes several hundred test sheets before the final result is achieved. By purchasing paper exclusively from Cradle to Cradle certified printers, you can guarantee that both the paper and the printing inks are designed to fit into the biosphere.

No trees are cut down specifically for the production of NoSmokingTheFuture furniture. This means that all the trees that would have been needed to produce conventional furniture are still alive, continuing to bind CO2 in the wood and soil. As a result, the resulting material and products are positive for the climate.

NoSmokingTheFuture products add another stage of use and functionality to a cascade of healthy nutrients that are eventually absorbed by the ecological system to become part of something new.

The whole methodology of this project is exemplary for the life cycle of industrial ecosystems.

Please explain how citizens and civil society were involved in the in the design and/or implementation of the project.
Please also explain the benefits that derived from their involvement.

NoSmokingTheFuture involves civil society at the end of product life.

There is a system for scrapping the old shell.


The basic material of the chair is a consumable component, as it is subject to abrasion and wear. When a chair reaches the end of its life cycle, estimated at more than 10 years, users can either shred the shell and use it in gardens or agricultural areas as fertiliser and humus.

Or, by returning the old shell and keeping the foot frame, users can buy a new shell in the finishes and colours they want. In this way, they will have a chair that is as good as new and the restyling of their furniture at the lowest economic and environmental cost.

On the other hand NoSmokingTheFuture will take care of the proper recycling of the nutrients in the chair shell.

In this way NoSmokingTheFuture will not be the only actor in this story of respect for the biosphere but the user himself will be part of this project.

Please explain what kind of global challenges the project addressed by providing local solutions

Imagining a product as a flow of energies that compose themselves and at the end of their life unravel in the environmental system returning the borrowed energy is a new opportunity for humanity.

This can happen by moving large industrial systems, but it can also start from something small like NoSmokingTheFuture.

A small company that can imagine and inspire big changes.

A small company that lays chairs by hand and lets them dry at the slow pace of the sun and wind, without wasting energy, increasing the value of natural waste and giving back the energy of the handmade.

The whole process is transferable, as there is no need for specific artistic qualities as the products are made by hand laying on a mould.

The process is also scalable as we only need more space and more resources to expand it.

In the future we will be able to source natural paper waste locally and by also managing the recycling of nutrients in the chair shell, cycles would be closed locally and there would be no drainage of valuable nutrients.

But perhaps most important is not how much NoSmokingTheFuture can do materially, but how much it can do spiritually by setting an example and starting to change the DNA of our society.

Please highlight the innovative character of the project as compared to mainstream practices in the field of the project.

No SmokingTheFuture contributes positively to solving the problem of indoor air quality.

There is evidence that the European population loses around five years of life expectancy due to the uptake of pollutants in the air. The air quality in buildings is actually substantially worse than that outside, but there are no thresholds for indoor air quality. This has tremendously negative effects on our health.

One third of the approximately 2800 pollutants come from buildings and furniture.

The furniture industry is a resource-intensive industry. Huge quantities of wood, metals and other materials are processed to produce chairs, tables, beds, lamps and the like. About 10.5 million tonnes of furniture are produced annually in the EU (Barbaritano etal., 2019).

Naturally, the diversity of resources and material requirements is accompanied by highly complex supply chains and production processes, which often generate a variety of negative externalities. These can take the form of ecosystem disturbances in resource extraction, application and waste of toxic compounds in production, toxicity and low quality during use, and persistence and bioaccumulation of toxic compounds in waste.

Commonly, the materials used are applied in a way that prohibits sophisticated upcycling and re-extraction of valuable substances, which in the end often leads to the incineration of worn-out pieces of furniture. In fact, 80-90% of furniture waste in the EU is incinerated or sent to landfill. In addition, the furniture industry is responsible for the emission of large quantities of volatile organic compounds (VOCs) into the environment, contributing to a serious degradation of indoor air quality (Azizi et al., 2016).

The effects described above are catalysed by fashions and trends that are changing faster and faster. Just as in the textile industry, the use phase of furniture has been greatly diminished in recent decades. (Statista, 2022).

Please explain to the potential of transferring the projects’ results or learnings to other interested parties and contexts.
Please provide clear documentation, communication of methodology and principles in this context.

The actions and strategies to disseminate information about the project results are different:

a WEBSITE has been created where all the results achieved in the search for material by Braungart Epea will be implemented:

On the site, PRODUCT SHEETS and DWG FILES can be downloaded to help designers in their design and sales work, as it is clear that products need the mediation of professionals to reach the final buyer.

a MAINSTREEM CAMPAIGN has been launched on Instagram and Facebook, at the moment only in Italy due to available funds to publicise the products and the concept.

Interested people are given personalised information about the project and the objects as a more important indication than the costs.

PARTICIPATION IN COMPETITIONS and prizes at European level in order to convey the project to competent and sensitive people.

Participation in this and other thematic competitions is one of our strategies.


With or with whoever provides us with the cradle to cradle card from Switzerland, we will exchange communication in order to have publicity in environmentally sensitive areas that are difficult to access.

Another example, the architecture firm mcarchitects who used the armchair for a sustainable building.


It is our intention to work on an informative newsletter about projects that are not necessarily related to NoSmokingTheFuture, in order to build trust and bring more sensitive people together.

Presence on dedicated PORTALS such as  ARTEMESTCollaboration with Officine Tamborrino sales partner.

Participation in TRADE FAIRS such as EDITH Naples, which are close to the Italian artisan culture but face an international context.

The SALONE DEL MOBILE di Milano is also on the agenda in the "Fuori Salone", which is more

Is an evaluation report or any relevant documentation available?
If you would like to upload additional documentation, please upload it or write it below

Within the realm of furniture, chairs hold a special position. They have always been mirrors of

technology, innovation, and material application, symbolling the design at each stage. Its

simple function allows for a great diversity of interpretations.

“A chair alone can tell a story of values, origin and cultural significance” (National Design Academy, 2018)

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By ticking this box, you declare that all the information provided in this form is factually correct, that you assume sole liability in the event of a claim relating to the activities carried out in the framework of the contest, that the proposed project has not been proposed for the New European Bauhaus Prizes 2022 in any other category or strand and that it has not been subject to any type of investigation, which could lead to a financial correction because of irregularities or fraud.
By submitting your application, you guarantee that you are the author or have the rights to proceed with the application and to authorise the use of the project, concept, idea, and that you have obtained any necessary consents, licenses or assignments from third parties and included copyright notices when necessary.
By submitting your application, you understand that all the applications that meet the eligibility requirements will be shared for the purposes of the selection processes, and notably published on the secured platform and for the purposes of the promotion of these on the New European Bauhaus website and/or other European Commission communication channels. In this sense, the applications would be widely available. Applicants should ensure that they present their ideas, concepts, projects, in such a way that they could be shared without giving rise to intellectual property related concerns. If your submission is selected as one of the finalists, it will additionally be shared for the purpose of the public vote that will take place. The European Union is granted a licence to use and share your application with the general public and the official external experts for the purposes of the selection process, including the voting. The European Union has the right to use the images and visual materials and the description provided in the application for communication purposes related to the contest and beyond. Rights granted comprise the right to store, reproduce, display, publish and communicate or distribute copies in electronic or digital format, including, but not only, through the internet. Unless you have disclosed your name, the European Commission has no obligation to share your name when using or disseminating your contribution to the public. The European Union cannot be held responsible in case any submitted idea, project, concept is found to infringe third parties rights. The European Union shall be neither responsible for the use that third parties may do of the applications or related content.


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