Entwined Objects: Kryss tests recyclability through a single-material build

Kai NakamuraDESIGN2 months ago3.7K ViewsShort URL

Founded by Swedish designer Svea Tisell in 2025, Kryss turns a single strand of rope into self-supporting furniture using Multiweave, a three-dimensional textile technique that treats weaving as load-bearing architecture.

Kryss positions material restraint as a design engine. The studio’s Entwined Objects project asks a simple question with outsized consequences: how far can you push one material before you need to introduce another? Here, the answer is furniture that holds itself up without a hidden frame, built from one continuous rope often sourced from reclaimed climbing line or surplus from shoelace production.

The outcome is a mono-material logic that stays readable in use and in afterlife. When the pieces reach the end of their lifecycle, they can be dismantled by undoing the finishing knot, returning the rope to circulation rather than trapping it inside composite assemblies.

At the core is Multiweave, a technique developed by Estonian textile artist Kadi Pajupuu, adapted here to shift textiles from upholstery into structure. Rope is guided through a three-dimensional weaving process so that tension, friction, and geometry do the work of a conventional frame. The textile stops behaving like a surface and starts acting like the thing that stands.

There’s a quiet intelligence in the way these pieces perform. Rather than chasing the fixed perfection of a welded skeleton, the woven body accepts micro-shifts, redistributing tension as weight arrives, then settling into a new equilibrium. The objects feel less like static products and more like systems.

To make the method consistent, Kryss uses a dedicated weaving platform with 345 conduits that guide the rope into position. Once weaving is complete, the conduits are removed, leaving a rigid, freestanding form. The tool is reusable, enabling repeatable production without turning the technique into a one-off gesture.

In Entwined Objects, this structural textile logic becomes tangible. A lounge chair gradually conforms to the sitter’s body while retaining stability, and a shelving system subtly shifts under the load of books and objects, registering weight as a visible, lived condition rather than something design tries to hide.

What emerges is a proposal for furniture where surface and structure are inseparable. Sustainability is not added on, but embedded in the construction logic: one material, one assembly method, and one clear route back to reuse.