100%, a new exhibition at the Shanghai Museum of Glass, invites its audience to consider the innate circularity of this ubiquitous and much-loved building material.
Glass is the only material that can be completely recycled with zero loss of quality. New products made from waste glass, which is known as ‘cullet’, save energy at every step of the supply chain. They eliminate the need for mining, reduce transport requirements, and greatly decrease the energy consumed (and carbon emitted) during the manufacturing process.
Despite all of this, as it stands, only 25% of the glass produced globally is recycled. Most of it ends up as landfill. The problem here is that one of the most prized characteristics of this ubiquitous material – its longevity – is actually also one of its drawbacks. Because it is so durable, when it is disposed of at landfill (and therefore protected from the elements), it can take up to a million years to decompose.

100%, a new exhibition at the Shanghai Museum of Glass addresses this state of affairs. It outlines the science behind glass recycling; shines a light on ways that artists and designers can elevate waste glass from trash to treasure; and invites museum-goers to consider the possibilities of the material as part of a circular economy in which more of what we use is re-used.
In a gesture aimed at highlighting both the environment we share and the public health benefits of spending time outdoors, the exhibition is located in the museum’s gardens. A series of five shipping containers, all designed to resemble the inside of a glass making kiln, are dotted around the property. Each contains digital elements and installations, mostly made from pre-existing materials, that address the topic at hand.

Naturally enough, the entire exhibition is zero waste. The bricks used inside the containers, which are a special edition of the award-winning product YiBrick by YiDesign, are made of glass waste and recycled ceramics from Shanghai Museum of Glass and Jingdezhen. When the exhibition comes to an end, they will be repurposed and used as construction material inside the museum. None stand a chance of re-surfacing, a million years into the future, from some ancient and long-abandoned land fill site.
100% is currently showing at the Shanghai Museum of Glass Park, 685 West Changjiang Road, Baoshan District, Shanghai. The exhibition runs from July 2022 until June 2024.
COORDINATION ASIA
coordination-asia.com





INDESIGN is on instagram
Follow @indesignlive
A searchable and comprehensive guide for specifying leading products and their suppliers
Keep up to date with the latest and greatest from our industry BFF's!
At the Munarra Centre for Regional Excellence on Yorta Yorta Country in Victoria, ARM Architecture and Milliken use PrintWorks™ technology to translate First Nations narratives into a layered, community-led floorscape.
For a closer look behind the creative process, watch this video interview with Sebastian Nash, where he explores the making of King Living’s textile range – from fibre choices to design intent.
Now cooking and entertaining from his minimalist home kitchen designed around Gaggenau’s refined performance, Chef Wu brings professional craft into a calm and well-composed setting.
In an industry where design intent is often diluted by value management and procurement pressures, Klaro Industrial Design positions manufacturing as a creative ally – allowing commercial interior designers to deliver unique pieces aligned to the project’s original vision.
An array of coloured circles overlaid in perfect geometric sequences create a spectrum of musical auras in artist David Sequeira’s Bundanon Art Gallery commission, Form from the Formless (Under Bundanon Stars).
The master plan and reference design for Bradfield City’s First Land Release has been unveiled, positioning the precinct as a sustainable, mixed-use gateway shaped by Country, community and long-term urban ambition.
The internet never sleeps! Here's the stuff you might have missed
Australia Post’s new Melbourne Support Centre by Hassell showcases circular design, adaptive reuse and a community-focused approach to work.
Designer-maker Simeon Dux creates finely crafted timber furniture with longevity, precision and heritage at its core.