Addict Magazine

AD!DICT

creative Lab since 1997 - TALENT ACCELERATORS

I N S P I R AT I O N B O O K - m a y j u n j u l a u g 2 0 0 7 # 2 7

#27. the nano research magazine/expo/workshops/projects

www.addictlab.com

PHOTO COVER: BART HESS

HERE IS A CHALLENGE.

ON NANO AND HISTORY.

Addictlab is full of references towards science. Our, name, our logo, our periodic table approach with creative disciplines replacing the chemical elements (thank you Mr Mendelejev), our formula’s and websites. We designed it that way as it was my way to try to structure creativity. I still believe creativity is chemistry. It’s all about people collaborating, creating something new because of the crossover collaboration.

The definition ‘creative lab’ I have patented and registered years ago, since at that time no one was combining the world of culture and that of labo’s, pipets and Geiger counters.

Yes, I know, these days, ‘Creative Lab’ is used by many others, and no, I didn’t start up copyright issues and juridical steps. Maybe I should, but I ‘m convinced that is some what of negative energy, completely opposite to my vision of a positive attitude in creative processes.

I love the similarities with history. Since, isn’t that the same? We live because there were creative processes before us. We live because one action (human or by nature) initiated another action, and thus creation is happening.

In nano research, those actions are the molecules. Change the sequence or the molecules, and you get an other outcome.

NANWHO? One nanometer is about 0,000 000 001 meter. That’s rather small. Nano technology for that matter, is science on that same 10-9 level.

Nano technology can be considered as design with essential building blocks, design on an atomic level, and with every small change implemented, the bigger picture changes. It comes down to the utter essence of creation, re-designing the back bone of our mere existence.

Being able to do that questions and defines our role as human beings, since the one thing that makes us different is our capability to be creative.

It defines and questions our role, since with the developed and yet to be developed tools, we’re close to playing god. Some people believe we’re coinciding with god ‘s proper job description.

An enormous task lies ahead for us as a community to define the boundaries of that research..

An example? Can we talk about genetically modified food? Is that a line not to be crossed? But what then to say to those ingenious people that have developed a system to modify the DNA of a certain plant, resulting in a change of colour of the flower when it grows on top of a hidden landmine, making the landmine more easy to be detected…

ON A MORE PERSONAL NOTE. I must confess. I started my education as a civil engineer student.

A logic next steps after my math specialty during high school. Add to that a slight parental force to have an engineer in the family.

It was all a bit to narrow minded – or unidirectional for that matter.

I was busy, designing, drawing, photographing, writing. I met my future wife there – who is a civil engineer. So that solved my father’s problem.

When I finally quit and turned to art school and advertising, I remember my father being anxious. On the wide gap between the engineers’ world (and social surrounding) and that of the creative - or worse: artistic - scene.

And he is not the only one. We structured our society that way. Wrongfully. With this collaboration between addictlab and imec, we are taking care of that fear. We are closing that gap.

With this book, we are trying to give a platform to those who are able to reflect from a complete other perspective and confront them with the usual suspects of the nano research. In that confrontation lies the essence of true conceptual thinking.

Let this be a start, create the best of both worlds. And we have work to do: there is a whole place that needs to become a better one.

Allow me to thank Fenna Zamouri & Nuno Oliveira for their 109 hours spend on 10-9. I also wish to thank Jo De Wachter from Imec, to have the open spirit needed to approach addictlab with this project.

Jan Van Mol Jan@addictlab.com

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nano spaces

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RONAN & ERWAN BOUROULLEC

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BOUROULLECS NINNA MARGRET THORARINSDOTTIR

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3 LUDIVINE LECHAT & NODEBOX

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NODEBOX MARC MEYER & NODEBOX

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nano materials

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nano science

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FILIP DANIELS & JAN HOEBEECK

nano photo

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nano nutrition

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HORVÁTH ENDRE

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ALI CABBAR

nano concepts

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MATERIAL SENSE OKALUX

MATERIAL SENSE

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DRIES VERBRUGGEN & CLAIRE WARNIER

KIM VAN DER HEYDEN

CARLA BITTENCOURT

PAPERKUT & POL

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40 ANDREW E. PELLING & ANNE NIEMETZ

MARC MANN

V2_ / VIRTUEEL PLATFORM

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MOENEN ERBUER CRIS ORFESCU LANDER JANSSENS

LITECNICO DI TORINO

MARENKA DEENSTRA & JONATHAN DEN BREEJEN

ARNO COENEN & HOOGVLIET COMMUNITY

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SPEEDO 速 & ELEMENT SIX BV BART HESS

100 SCHOTT AG ADVANCED MATERIALS DESIGNTEX

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JEFF WYCKOFF

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TU DELFT, RESEARCH INSTITUTE UNIVERSITY OF GHENT

116 MATERIALISE MGX & PATRICK JOUIN

130 CHRIS EWELS

LIEVEN DE COUVREUR BERNARD LAHOUSSE

SUSANA TRASOBARES

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NOUMENON

Nanotech Outreach Workshop Why do we organize a science communication workshop? In various fields we’re seeing some great examples of engaging the public and tearing down the walls between science and society. However, these best practices are hardly ever shared outside the borders of their context and community. Great ways to engage school children in the world of science and technology also hold lessons for the people working in science centers, research centers, and media, and vice-versa.

Also, we’re realizing that we should be more open to more innovative ways of science communication, just because the classical communication schemes don’t always seem to work for science communication. This is why we want to bring together some of the world’s best practices from a variety of communities and domains. For us this is the first step into the development of a new multidisciplinary way of communicating science and engaging the public.

We’re seeing some great examples of engaging the public.

Nano First of all, it’s important to point out that nanotechnology isn’t a single technology. Nanotechnology refers to a whole range of technologies (sciences like biotechnology, electronics, physics, biology, chemistry) with one communal trait, namely the scale on which it’s used. It’s an umbrella term. Since one nanometer is 1 billionth of a meter, about the size of one atom, nanotechnology refers to the application of nanostructures (these are between 1 and 100 nanometer big) into useful devices, materials and products.

As we especially want to highlight best practices on the topic of nanotechnology outreach, we want to share with you some of the best ways in communication about nanotechnology.

Although nanotechnology isn’t fully integrated in our lives yet, some great initiatives on nanotech outreach have already been established around the world in various domains.

Nanotechnology isn’t a single technology.

The difficulty of communicating

nanotechnology. It gives us a fresh

about nanotechnology lies in the fact

insight in how nanotechnology can

that it’s so complex and abstract.

be visualized and represented when

And with one nanometer being as

the limits of our imagination are

small as one atom, no wonder it’s

extended. Furthermore we also

difficult to imagine. This complex

wanted the creative community to

and abstract nature of nanotechnol-

give their opinion on the possibilities

ogy confronts us with a new

this new technology could offer.

challenge. How should we explain

There was only one condition that

this to the average Joe? How should

had to be met. They had to take it

we fuel their enthusiasm and interest

one step further than the futuristic

in something so different from what

scenarios we already know. So

we know? We feel this challenge

move over cyborgs and grey goo,

can only be overcome when it’s

and make room for things that really

tackled with a lot of fresh ideas and

matter, like the environment, smart

a high level of openness for the

materials, medicine, drug develop-

views and opinions of other people,

ment and so on. We hope that their

people who might or might not have

ideas can push the drive of the

experience in science communica-

researchers working today in

tion. And this AD!DICT book is one

nanotechnology and can spark the

of the several outcomes of the

enthusiasm of a whole new

Nanotech Outreach Workshop. It’s a

generation of students coming up.

collection of different views on

What’s this interdisciplinarity about?

4RADITIONALLY THEREdS QUITE A BIG DIFFERENCE IN FOCUS BETWEEN THE DIFFERENT DISCIPLINES LIKE CHEMISTRY PHYSICS BIOLOGY

ETC 7HILE CHEMISTS WORK WITH MOLECULES A PHYSICIST WOULD CONCENTRATE ON THE PROPERTIES OF MATTER AND A BIOLOGIST WOULD WORK WITH LIVING MATTER "UT SINCE RESEARCH IN ALL THESE DOMAINS IS REACHING THE NANOSCALE THE DIFFERENCES IN FOCUS TEND TO BECOME VAGUE )NDEED ALL MATTER AROUND US

WHETHER ITdS DEAD OR ALIVE CONSISTS OF ATOMS 4HIS MEANS THAT YOU CAN COMBINE ALL THESE DISCIPLINES AT THE NANO SCALE LEVEL .ANOTECHNOLOGY IS ACTUALLY THE DISCIPLINE THAT UNITES ALL THE PREVIOUS ONES BUT THAN ON A VERY SMALL SCALE !ND NANOSCIENTISTS NEED THE KNOWLEDGE OF ALL THESE DISCIPLINES

BECAUSE THEY ALL SHED A DIFFERENT LIGHT ON THE PICTURE

The multidisciplinarity of nanotechnology influences the way in which we communicate.

!LTHOUGH THIS INTERDISCIPLINARITY IS QUITE UNCOMMON AND NOT SEEN BEFORE IT MEANS THAT THE TRADITIONAL DIFFERENCES BETWEEN KNOWLEDGE DOMAINS ARE DISAP PEARING 3O WHAT DOES THIS MEAN FOR SCIENCE COM MUNICATION IN GENERAL AND NANOTECH OUTREACH IN PAR TICULAR &IRST OF ALL IT INFLUENCES THE WAY WE PERCEIVE OUR AUDIENCE 3INCE NANOTECH INVOLVES WORKING WITH THE BUILDING BLOCKS OF LIFE THAT SURROUNDS US ALL EV ERYONE SHOULD BE INVOLVED IN THE PUBLIC DEBATE 4HIS MEANS THAT THE EFFORTS FOR COMMUNICATION ON NANO TECHNOLOGY SHOULD BE ENHANCED SO EVERYONE CAN AT LEAST UNDERSTAND WHAT ALL THE FUSS IS REALLY ABOUT 4HE MULTIDISCIPLINARITY OF NANOTECHNOLOGY ALSO INFLU

Big thanks to:

ENCES THE WAY IN WHICH WE COMMUNICATE 7HEN

All the creative talent that was so open-minded to share their

YOUdRE COMMUNICATING ON A TOPIC THAT IS AT HEART IN

views, dreams and ideas with us.

TERDISCIPLINARY YOU CANdT DO THIS FROM A UNIDISCIPLINARY VIEWPOINT !ND WEdRE NOT ONLY REFERRING TO THE EXACT

If you want to know more about nanotechnology:

SCIENCES )NDEED BECAUSE OF THE COMPLEXITY OF THE

- “Nanotechnology. A gentle introduction to the next big idea� by M.

TOPIC ITdS IMPORTANT TO INVOLVE EVERYONE &OR INSTANCE

__Ratner & D. Ratner (2003) New Jersey: Prentice Hall

A SOCIAL SCIENTIST WILL PERCEIVE GOOD SCIENCE COMMU

- www.nanotechproject.org/consumer/nano101.html

NICATION DIFFERENTLY FROM AN ENGINEER "OTH WILL EVALUATE

- news.bbc.co.uk/1/hi/sci/tech/3920685.stm

A CERTAIN WAY OF COMMUNICATING DIFFERENTLY BECAUSE

- news.bbc.co.uk/1/shared/spl/hi/pop_ups/05/sci_nat_nanotech-

OF THEIR BACKGROUND )TdS IMPORTANT TO BRING TOGETHER

_nology___building_the_future_from_the_bottom_up/html/1.stm

THESE DIFFERENT VIEWS ON SCIENCE COMMUNICATION BE

- www.wellcome.ac.uk/node5954.html

CAUSE AS NANOTECHNOLOGY ITSELF SHOWS SHEDDING A

- www.sciencemuseum.org.uk/antenna/nano/

NEW LIGHT ON SOMETHING WE ALREADY KNOW MIGHT OPEN

- www.nanotechproject.org/

UP A WHOLE NEW RANGE OF POSSIBILITIES -ORE CREATIVE

- www.nano.gov

AND MULTIDISCIPLINARY SCIENCE COMMUNICATION WILL SPARK THE INTEREST OF A WHOLE NEW AUDIENCE !N AU DIENCE THAT WASNdT REACHED BEFORE JUST BECAUSE THE WAY OF COMMUNICATION DID NOT APPEAL TO THEM

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RONAN & ERWAN BOUROULLEC

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RONAN & ERWAN BOUROULLEC

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RONAN & ERWAN BOUROULLEC

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ANDREW E. PELLING & ANNE NIEMETZ

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nano spaces

Bouroullec Cloud modules 2002

Cloud modules

Ronan & Erwan Bouroullec // www.bouroullec.com // Photo ŠRonan et Erwan Bouroullec

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Twigs Ideal House exhibition 2004 bouroullec twigs 1, 4 Ideal House exhibition 2004 installation IMM Koln, Germany

Ronan & Erwan Bouroullec // www.bouroullec.com // Photo ŠPaul Tahon

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Grape carpet

Ronan & Erwan Bouroullec // www.bouroullec.com // Photo ŠPaul Tahon

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Grape carpet 2001 bouroullec tapis grappe froissĂŠ velvet pure woolmark wool, weaving of a single piece. three colours: blue, green or grey.

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nano spaces

Andrew E. Pelling & Anne Niemetz The dark side of the cell

Cellular Sounds The dark side of the cell is an audio-visual event treating a fascinating discovery in nano-biotechnology: ‘cellular sounds’. For a long time musicians have been inspired by microscopic life-forms and the fascinating structures of the smallest building blocks of the universe, but not until now have we been able to listen to the sound of living cells.

Professor James K. Gimzewski and Andrew E. Pelling at the UCLA Department of Chemistry first made the discovery that yeast cells oscillate at the nanoscale in 2002.

Amplifying this oscillation results in a sound that lies within the human audible range.

“Sonocytology”, the suggested term for this cutting edge field of study, represents a new realm of challenge and potential for scientists, artists, and in particular for musicians. The tool with which the cell sounds are extracted – the atomic force microscope (AFM) – can be regarded as a new type of musical instrument.

Unlike microscopes that use optical imaging, the AFM “touches” a cell with its small tip, comparable to a record needle “feeling” the bumps in a groove on a record. With this interface, the AFM “feels” oscillations taking place at the membrane of a cell. These electrical signals can then be amplified and distributed by speakers.

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Manipulating the cell with chemicals will result in a change of oscillation. Isopropanol (rubbing alcohol) for example, will change a “singing cell” into a “screaming cell”. And a chemical such as sodium azide will kill the cell, causing the emitted frequency to die away, leaving only noise.

The dark side of the cell is the first composition ever to utilize cell sonics. The staging of the “musical cells” takes place in a darkened, acoustically immersive space, enhanced with a number of sculpturalobjects, onto which microscopic imagery of the sonic cells and their cellular sonograms are projected. The construction of the sculptural elements is inspired by the inner architecture of cells.

This project is the collaborative effort of the media artist Anne Niemetz, and the nanoscientist Dr. Andrew E. Pelling, who teamed up to combine their research and interests in nano-biotechnology, sound and installation design. Niemetz and Pelling first met to work together on the sound design and setup for NANO, an interdisciplinary exhibition about nanotechnology at the Los Angeles County Museum of Art, led by Professors Victoria Vesna And James K. Gimzewski. The dark side of the cell concert was first premiered in this space on June 2, 2004. After its premiere, The dark side of the cell was set up as sound (June 10-24, 2004) and later at informARTics, ZKM and HfG Karlsruhe, Germany (May 12-21, 2006).

An upcoming installation in China is being planned for late 2007. >

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>

Niemetz is currently a senior lecturer in Digital Media Design at the University of Wellington, New Zealand and Pelling is now a Senior Research Fellow at the London Centre for Nanotechnology, University College London, United Kingdom. Both are continuing to work together on cellular physical fluctuations, heartbeats and light production and are working to establish international links between the arts and sciences.•

>

darksideofcell.info // adime.de // andrew-pelling.com

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nano fashion 34

RONAN & ERWAN BOUROULLEC

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MARC MANN

NINNA MARGRET THORARINSDOTTIR

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NINNA MARGRET THORARINSDOTTIR

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40 V2_ / VIRTUEEL PLATFORM

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MARC MANN

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nano fashion

Ninna Margret Thorarinsdottir Limbus Hexagon dress

Limbus Hexagon dress A dress, (which is made out of 466 hexagons) was printed out and assembled together hexagon-by-hexagon.

The hexagons are connected together via side flaps, and it is these side flaps which are one of the three pure colours (red, green, or blue).

1 third of the hexagons have red flaps, one third green and the final third blue, and it is these flaps which illuminate the dress; the dress is illuminated by alternating red, green and blue Light Emitting Diode’s (LED’s) which make the dress change colour respectively (as the red light intensifies the red flaps in the dress, whilst darkening the green and blue, the green light intensifies the green and darkens the red and blue and indeed the blue light intensifies the blue and darkens the red and green) which gives the illusion that the dresses pattern is constantly changing.

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nano fashion

Cloud 2003 Ring and Earrings

Ring and Earrings

Ronan & Erwan Bouroullec // www.bourollec.com // Photo: ŠPaul Tahon

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nano fashion

Marc Mann Gloworm

Gloworm:

Bringing Antique Avant-Garde into the Light The marcmann label from Hamburg has been presenting its first jeweLIGHTs collection since December 2006. Gloworm is one of the luminous necklaces in the series, which consists of seven pieces of jewellery in total. The designer took his inspiration from deep sea creatures such as phosphorescent jellyfish and the ghostly luminescence of angler fish.

It all started with the antique glass. Or more specifically, a drawer-full of mouthblown apothecary vials, some 150 years old. Marc Mann came across them ten years ago at an antiques market. Though still without a clear idea of what he would use them for, he immediately knew for certain that he had to have them. The gently curving forms of the tiny bottles were simply too elegant, the quality of their material too beguiling. “By threading a handful of bottles onto a wire, I could transform them into a unique necklace.� And because he happened to be designing a lot of lights at that time, it only took him a a few more days to have the idea of illuminating the necklace as well. And thus the idea for the first piece of jeweLIGHTs jewellery was born.

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www.marcmann.com // Hamburg, February 2007

These brainwaves were followed by endless painstaking experimentation. Marc Mann sifted through stacks of catalogues as well as through the product ranges of various model shops and suppliers of laboratory equipment. In particular, however, he was interested in LEDs from specialist suppliers. To prevent the heat-sensitive antique materials and high-performance plastics from becoming damaged, Marc Mann experimented with new processes for forming electrical contacts, where there would be no need to make soldered connections.

The result of this was a piece of jewellery entitled Light Blue Collar – the first piece in the jeweLIGHTs series. This was promptly branded a “phenomenon” by Karim Rashid in the International Design Yearbook 2003/04: “A poetic blend of old and new”, as the text remarked with admiration. Gloworm and all of the other pieces in the jeweLIGHTs collection today are consistent further developments of this original idea.

Antique glass is still one of the key materials in the jeweLIGHTs: Gloworm makes use of mouth-blown antique vials. For other pieces in the collection, a variety of different sizes of glass vials have been added, as well as Venetian and Bohemian glass beads, likewise around 150 years old.

≠

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The ongoing miniaturisation of LED (lightemitting diode) technology allows Marc Mann to illuminate his pieces even more comprehensively, while always ensuring that the light source remains concealed.

This is an important part of what gives his jewellery its magical aura.

The jeweLIGHTs are also highly sophisticated from a technical point of view.

A single set of batteries is sufficient to douse the wearer of a jeweLIGHTs in a gentle shimmer for an entire evening – and right through to dusk, if that is what is required.

Marc Mann prefers to integrate the batteries directly into the piece of jewellery, provided that this is possible without compromising the appearance of the item. For this purpose he also uses powerful miniature batteries for digital cameras and PDAs. An ingenious switching mechanism is essential, especially for ensuring long periods of illumination.

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nano fashion

V2_ / Virtueel Platform Fleshing Out

Fleshing Out: Living Fabrics for the fashion industry In the 21st century, cutting-edge technology, such as nano-technology, is dropping into our design and clothing, without a second through on the social and ethical consequences. The discourse and values of the fashion industry clash with those of the electronic giants, and we find ourselves in a situation where new manufacturing protocols are required. Below, several design projects are described that spark the discussion on these new manufacturing protocols, before the industry can sneak such developments into our everyday lives.

Central Saint Martins College of Art & Design, University of the Arts London, made a landmark contribution to the awareness of the influence of technology on today’s fashion design. By providing an overview of the technological developments that continue to influence contemporary fashion design and by exemplifying new technologies that are about to leave the experimental phase and enter our everyday lives, Lee’s book is not only an excellent overview of past and new technological developments in fashion design, but also a critical signal of things to come.

It was through the publication Fashioning the Future - Tomorrows wardrobe (Thames & Hudson, 2005) that Suzanne Lee, senior research fellow in fashion at

Taking this critical signal as a starting point to spark discussion on new manufacturing protocols, a selection of the most exciting and critical projects that

Michel van Dartel (V2_), Leonieke Verhoog and Martine Posthuma de Boer (Virtueel Platform) // www.symbiotica.uwa.edu.au / www. biojewellery.com / www.v2.nl / www.virtueelplatform.nl // Photo:©Sascha Pohflepp

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adopt new technologies for fashion, art, and design were presented at an event titled FLESHING OUT Wearable Interfaces, Smart Materials, Living Fabrics, at V2_ Rotterdam, in November 2006 . Some of the most exciting projects presented during the FLESHING OUT seminar, were those that adopt biotechnology to grow material into a design. After a history of successively wearing animal skin, creating cotton, and creating nylon, it seems that a new era has started, in which materials will be grown into wearable products. The projects BioCouture, Victimless Leather, and Biojewellery all adopt biotechnology to allow control over the growth of natural materials and the manipulation of these processes for design purposes at a nano-scale.

BIOCOUTURE Suzanne Lee’s current project BioCouture forms a perfect example of biotechnology in fashion design that may drastically change our future wardrobes. Lee premiered her latest work-in-progress at FLESHING OUT; a blouse made out of material derived from bacterial cellulose.

in the cotton and textile industry, Lee came up with the idea to grow garments throuare required. Below, several design projects are described that spark the discussion on these new manufactur-

could grow itself organically.

ing protocols, beup with the idea to

and put together to form a compact

grow garments through the process of

leathery papyrus-like substance.

After two weeks of growing the fiber, it is 12mm thick and in a wet state. Then it is dried around a bust and ready to be used. At this stage, the dried fiber has a few problematic characteristics, it does â‰

bacterial cellulose, and in this way let nature design for us. Due to the fact that the cotton industry uses huge amounts of

Eager to find an environmental-friendly alternative to the heavy pollution inherent

land, water and pesticides, Lee thought it would be great to design a material that

In the project, bacteria are mixed with yeast and sweetened tea, a mixture that makes fibers stick to each other in big clumps. These clumps are then dried

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not stretch and it absorbs water, making the current prototypes unsuitable to wear.

Furthermore, the mixture grows everywhere, making it difficult (perhaps even impossible) to control the growth. Another issue to overcome is the lingering sugary tea smell that accompanies the grown fibers. The advantage, on the other hand, of growing clothes through bacterial cellulose, is that it is far less harmful to the environment. The materials require heat to grow - about 25 degrees - but it needs very little liquid, just white sugar, and

samples can be used over and over again to grow new material.

Suzanne Lee has only just begun to experiment with the process of using bacterial cellulose to grow clothes, and plans to experiment further, using different samples of black tea, vegetable dyes, and ink jet printing, to change the patterns of the clothes.

Since the main advantage of growing clothes through bacterial cellulose are

the ecological benefits, Lee’s BioCouture project can be regarded as a direct critique of the large scale, worldwide pollution generated by the textile industry, by presenting potential solutions found in biotechnology. Of course, plants and bacteria are not the only ‘growable’ organic materials used in the fashion industry.

The projects raising the most heated ethical debates on the future of technology in fashion design are those involving the growth of (semi-)living flesh and bones.

1, 2: VICTIMLESS LEATHER A PROTOTYPE OF STITCH-LESS JACKET GROWN IN A TECHNO SCIENTIFIC “BODY”, BY ORON CATTS & IONAT ZURR (2004). COURTESY OF THE TISSUE CULTURE & ART PROJECT (ORON CATTS & IONAT ZURR).

VICTIMLESS LEATHER In their work, Ionat Zurr and Oron Catts, from the SymbioticA art and science collaborative research laboratory at the School of Anatomy and Human Biology of the University of Western Australia, fire up the debate on how to deal with technologies that enable something to live outside of a body. In Victimless Leather, SymbioticA grew tiny leather coats out of skin cells from mice and presented these jackets at a fashion show.

Although many standard leather designs were shown at the same fashion show, the Victimless leather project received all the criticism. Rather than being disappointed, Ionat Zurr and Oron Catts regarded this criticism as the project’s main success, since their work is about the philosophical discourse on the technology and its ethical implications, rather than commercial success. In Ionat Zurr’s words; SymbioticA’s work is aimed at the ‘aesthetic of disappointment’. Such ‘disappointment’ is reached by creating high expectations, tickling the fantasy of the public to make them

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think about the technology, before revealing that the project is not so valuable in the end at all. This disappointment factor was most apparent in another SymbioticA project called Disembodied Cuisine, where a semi-living steak was grown out of cells from frog legs. The outcome was a jelly-like piece of meat as big as a pea, but the real ‘disappointment’ was achieved by revealing that for 100 grams of this artificial steak, at least one calf has to die to gather the blood required to grow it. While the project was first hailed as a potential solution for many of the problems that the meat industry faces, revealing this fact suddenly made the project worthless in that regard. With the costs of a single gram of steak at around 60 euros, it wouldn’t have made a very good alternative in economical terms anyway. •

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Symbiotica’ s work is aim

ed

at the ‘aest

hetic

of disappoin ’ tment

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1, 2: BIOJEWELLERY A MODEL OF THE RING USING A COMBINATION OF COW MARROW-BONE AND ETCHED SILVER. THE INSCRIPTION READS AB INTRA, “FROM WITHIN”.

BIOJEWELLERY A potentially economically viable project involving the growth of body cells for aesthetical purposes is the Biojewellery project by design researcher Tobie Kerridge and his team at the Royal College of Art in London (including Nikki Stott and Ian Thompson). The Biojewellery project aims at designing rings from bio-engineered bone tissue. The process starts by taking small samples of (human) bone and growing them inside ring-shaped scaffolds that control the shape in which they grow. This results in ring-shaped bio-engineered bones that are then finalized in a design studio, eventually resulting in bone rings to be worn as jewellery.

Although the aims of the project at first glance seem straight forward ‘making jewellery from bones’, the project actually has more sophisticated intentions.

Biojewellery aims to change biological material into an artifact to investigate how this changes the way in which we use and think about it. It asks the question how the meaning of design changes when it also involves ethical issues in the application of biotechnology.

At the start of the project it was not really supposed to be carried out, but as it became very popular online, the research group found four couples who wanted a ring grown from their partner’s bone. The decision to proceed the project brought along many new questions and obstacles.

How could it be done legally and ethically? Where to get the cells from? Is it even allowed to operate someone who is not ill? And what happens when something goes wrong; when cells die, or get an infection, or don’t become what they were supposed to become?

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1

The porous, bioactive ceramic scaffold on which tissue growth takes place, a model of the ring using a combination of cow marrow-bone and etched silver, and a sample of cow marrow to illustrate the final bone sample.

The four couples that wanted to participate in the project donated their wisdom teeth. Bone cells from these wisdom

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teeth were prepared and seeded onto a bioactive scaffold. This bioactive pioneering material encourages the cells to divide and grow rapidly in a laboratory environment, so that the scaffold disappears and is replaced by living bone tissue. The couples’ cells are grown at Guy’s Hospital and

the resulting bone tissue will be taken to a design studio at the Royal College of Art to finalize the design of the rings.

Following consultation with the couples, the bone tissue will be combined with traditional precious metals. To date, the rings are still growing in their scaffolds.• END

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LUDIVINE LECHAT & NODEBOX

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NODEBOX

LUDIVINE LECHAT & NODEBOX LUDIVINE LECHAT & NODEBOX

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MARC MEYER & NODEBOX

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CRIS ORFESCU

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MOENEN ERBUER

68 72 PAPERKUT & POLITECNICO DI TORINO

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CRIS ORFESCU

LANDER JANSSENS

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ARNO COENEN & HOOGVLIET COMMUNITY

PAPERKUT & POLITECNICO DI TORINO

MARENKA DEENSTRA & JONATHAN DEN BREEJEN

nano art

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Ludivine Lechat & Nodebox Emergent behaviour

Emergent Behavior In Artificial Intelligence, an agent is a software algorithm that has the ability to activate by itself and achieve goals autonomously. Essentially this means an agent has a number of capabilities that it can use to solve certain problems, adapt to its environment or even learn new things, all by itself. Agents are flexible. They can be reactive, proactive and social.

When a number of these agents are put together we usually end up with “emergent behaviour”.

Consider an ant defined in programming code. It would have a set of simple rules, like “roam around” and “if you find food,

bring it home” and “if you’re carrying food, leave a trail of scent” and “if you encounter a trail of scent, follow it”. When we put a number of these ants together they start to collaborate and behave like real ants. You can observe them (http:// nodebox.net/code/index.php/Ant_Colony) harvesting food, following trails and reinforcing those trails as they end up at a food source.

This antlike behaviour is emergent. We didn’t really instruct the ants to cooperate or behave like a colony. The hive property arises simply as a result of interaction at an elemental level - ant-to-ant communication.

Text: Tom De Smedt // Artwork: Ludivine Lechat, Tom De Smedt, Frederik De Bleser, Lucas Nijs // Creatures development team:

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Frederik De Bleser, Tom De Smedt, Ludivine Lechat, Nicolas Marinus // Rendering software: NodeBox - http://nodebox.net

The concept of emergence can be extremely valuable in game development or graphic design. We tend use emergence in almost every piece of generated art we make.

Ludivine Lechat used emergence in her postgraduate project called “Graphic Cellular Domestication”. Se had a library of tiny cell elements and a set of matrix rules on how those cells could be combined. The resulting compositions were constructed entirely from individual elements and combination rules. No one “controlled” the final results, but still they come across as organic and aesthetic. ≠

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We can take the principle of emergence even further. Visualising a plantform that grows a million tiny hairs would take any graphics artist down a lane of pain and misery when the work would be done manually. â‰

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But in a software algorithm we can define one piece of hair, give it some capabilities like “grow” or “grow in the direction your neighbours are growing” or “slowly wilt away”. Then we can put a million of those hair-agents together in an environment and see how they interact and evolve by themselves. The hair is a kind of nano-organism that has a set of simple tasks.

agressive creatures).

We can apply the same technique to crea-

Recently, the Flemish Audiovisual Fund has granted us fundings to develop a (small) computer game called “Creatures”. Everything in the world of Creatures will rely on emergence.

Plants and insects will be generated procedurally. Creatures will have the ability to evolve and make decisions on their own. Work together in flocks of foragers or become solitary predators. Plants will adapt according to the environment and what types of creatures are good at spreading their seeds.

tures. Describe one creature agent in programming code by giving it some essential tasks like “run away from bigger creatures” or “chase and eat smaller creatures”. Then we can put a number of creature copies together... and the survival of the fittest begins. If you read the Addict Gaming issue you might remember how I explained this in detail in a presentation of the “Evolution” project. All the creatures in Evolution were grown from Ludivine’s library of cells. Their behaviour was then based on how they looked (e.g. bigger claws makes more

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We can even apply emergence to typography, or curves in general. In this case the outline of a letter or a shape is considered to be the habitat of a nano-spider that crawls around on it. Letters take shape as the spider patrols its territorry.

Essentially, Creatures will be described at an elementary level of reproduction.

All the rest is emergent. •

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Marc Meyer & Nodebox L-system Tree

L-system Tree The “L-sytem Tree” is another example of procedural art. Mark Meyer, a landscape photographer from California, used NodeBox to program an L-system. An L-system or Lindenmayer system is a grammar of rules and symbols used to model the growth process of plants. The system is “recursive”, which more or less means something like: “a tree is a big branch” and “a branch sprouts smaller branches”. The combination of these two statements is enough to describe an entire tree.

Text: Tom De Smedt // Artwork: Tom De Smedt and Mark Meyer // http://nodebox.net // Photo: ©Mark www.photo-mark.com

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The resulting tree is composed of more than 52,000 curves so it would be very, very difficult to reproduce by hand.

NodeBox has a community of users that share programming code and ideas. In that spirit Mark has posted his algorithm on the website so other users can learn from it and experiment with it.•

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Nodebox Organic Universe

Organic Universe The “Organic Universe” piece is a perfect example of the capabilities of NodeBox. NodeBox is a free open source Mac OS X application that lets you create 2D visuals using Python programming code and export them as a PDF or a QuickTime movie. Create static, animated or interactive compositions using simple primitives such as rectangles and ovals, import vector files from Illustrator or play around with text paths. NodeBox supports Apple’s Core Image technology so like in Photoshop you can create layered images using transformations, blend modes, alpha masks and filters... all hardwareaccelerated and non-destructive.

Text: Tom De Smedt // Artwork: Tom De Smedt // http://nodebox.net

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In “Organic Universe” you see all of this combined. Pixels and vectors integrate seamlessly. Each sphere is a layered canvas, starting out from some image of a house which is then manipulated with a triangular tile filter, a radial alpha mask, lighting effects, etc. Since NodeBox works with programming code, the “recipe” for an organic sphere is described only once.

As soon as NodeBox knows what one “organic sphere” is, we can simply tell the application to copy it fifteen times (or a hundred or a million times) with variations in size, position, color, pattern, etc.

As soon as we have some spheres on the canvas we can grow hair on them by drawing a tiny vector curve on each pixel.•

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Paperkut & Politecnico di Torino Nano Arte

Nano Arte Nan째art is a new frontier, a new boundary, a new media by which we can create and communicate. We have searched to create an aesthetic paradox: a piece of art that you can never see. Yet that exists and carries a message.

Nan째art is an art project that brings together two distant worlds, art and science. It is being produced by Paperkut (Alessandro Scali and Robin Goode) in collaboration with the Physics Department at the Politecnico di Torino.

The objective, through integrating art and nanotechnology, is to realize artworks in micrometres and nanometres (A micrometre being a thousandth of a millimetre and around the size of microorganisms and cells.). A nanometre being 0,000001mm and a thousand times smaller than the smallest human cell.

Alessandro Scali e Robin Trevor-Goode. Paperkut. // Collaborations: Professor Fabrizio Pirri and students: Giancarlo Canavese, Alessandro Chiolerio,Gabriele Maccioni, Giacomo Piacenza, Samy Strola of the Physics Department at the Politecnico di Torino Italy. // www.paperkut.net / http://www.polito.it/thin-film

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THE SILICON PLATE USED FOR MICRO/NANO LITHOGRAPHY

‘Beyond Hercules columns’ A series of human imprints lithographed onto a piece of silicon. It represents a journey of a man into an unknown world. A journey that breaches new frontiers and borders. Its a desire to be suprised by the unknown, to witness an undisclosed beauty. The voyage beyond Hercules Columns parts from our reality to an infinitely small one. An invisible reality, yet one that exists.

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1.‘BEYOND HERCULES COLUMNS’

2. MICROLITHOGRAPHIC SILICON PLATE

CREATED BY THE FESEM (FIELD EFFECT SCANNING

ON WHICH THE ARTWORK‘BEYOND

ELECTRON MICROSCOPE) INSTRUMENT.

HERCULES COLUMNS’ LIES.

ACTUAL SIZE talks about that which is always there, yet which no one wishes to see. An invisible continent, abandoned to its destiny.• ‘ACTUAL SIZE’ ARTWORK. CREATED BY THE SEM (SCANNING ELECTRON MICROSCOPE) INSTRUMENT.

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EXHIBITION STANDS USED TO DISPLAY THE SEM MICROLITHOGRAFIC IMAGES. PRINTED IN CARBON.

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Cris Orfescu Painting Nano

Painting Nano His art is a reflection of the technological movement. He considers NanoArt to be a more appealing and effective way to communicate with the general public and to inform people about the new technologies of the 21st Century. For Cris, NanoArt is intended to make the public aware of Nanotechnology and how will this impact our lives.•

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1.BODY PARTS The artist imaged Lithium Cobalt Oxide microparticles embedded in a polymer matrix by 1canning a small sample of the material in an electron microscope. The monochromatic scan has been painted digitally.

The final image is printed on canvas with archival inks. The prints last for a long time without deteriorating, when kept in adequate conditions. Conform to most viewers, these prints have an oil painting look. All prints are signed and numbered by the artist. The depth and three dimensions achieved in NanoArt sets this process of electron imaging apart from Photography, where images are created by photon(particles of light) rather than by electrons (electrically charged particles). The electrons penetrate deeper into the structure creating images with more depth, more natural 3D look than the photographic images. This artwork can be printed by request in a larger size on fine art paper or canvas - contact the artist for details.

All prints are signed and numbered by the artist. To buy the original contact the artist.

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2. NANOFIREBALL The artist created a nanosculpture by hydrolyzing a tiny drop of a Titanium organometallic compound and coating the structure with Gold in order to be properly visualized with a Scanning Electron Microscope. The monochromatic scan has been painted and manipulated digitally and the final image was printed on canvas with long-lasting (archival) inks. The depth and three dimensions achieved in NanoArt sets this process of electron imaging apart from traditional Photography, where images are created by photons(particles of light) rather than by electrons (electrically charged particles). The electrons penetrate deeper inside the structure creating images with more depth, more natural 3D look than the photographic images.

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Nanotechnology is a very powerful combination of technologies that could be extremely beneficial or extremely dangerous.

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3.LANDSCAPE The artist created a nanosculpture by casting a mixture of Graphite nanoparticles and polymer on glass. After it was peeled off the free-standing layer was fractured in Liquid Nitrogen at -195 degC. The fracture surface of a cluster of graphite nano-particles has been visualized with an electron microscope.

The monochromatic scan has been painted digitally. The final image is printed on canvas with archival inks. The prints last for a long time without deteriorating, when kept in adequate conditions. Conform to most viewers, these prints have an oil painting look. All prints are signed and numbered by the artist.

The depth and three dimensions achieved in NanoArt sets this process of electron imaging apart from Photography, where images are created by photons (particles of light) rather than by electrons (electrically charged particles). The electrons penetrate deeper in the structure creating images with more depth, more natural 3D look than the photographic images.

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Moenen Erbuer // www.shapish.com // www.serendip.shapish.com

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Moenen Erbuer Serendip

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Lander Janssens Outlandish-photo

created by Shapish and Grapplica // www.outlandish-photo.be

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Marenka Deenstra & Jonathan den Breejen Ping Pong Pixel

Ping Pong Providing information to people in the most efficient and fastest way has always been the main purpose of display-systems. PingPongPixel is an alternative system that stands in contrast to these display-systems. It competes for attention merely by its slow, basic and entertaining way of presenting information.

The system works as following: When an image is shown, the lowest line will fall away so that the whole image moves one row down. This row of balls is transported back, by air, to the storage cabinet and sorted back to their color specific basket. By dispensing 45 new balls in the right order a new line is formed. This line is blown to the top of the display screen, and dropped on the balls already visible. This goes on until a new picture is fully visible. The portrait is then visible for a couple of minutes. Then the new image is built up as mentioned before, this way there is always something to see! Simple, almost like a matrix printer.

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Arno Coenen & Hoogvliet community Ome Jan Schildkamp mosaic

Ome Jan Schildkamp mosaic This is a project from Arno Coenen for the Hoogvliet village, near Rotterdam.

Hoogvliet is known by bringing champions to the boxer’s and judo world. There is one man in Hoogvliet who is a symbol for this project, his name is Ome Jan Schildkamp.

He built a boxing school where young people could get the opportunity to learn how to box. Meanwhile he sensibilise them for the importance of the school.

The mosaic is a homage to Ome Jan and it will be standing on the entrance of the village.

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MATERIAL SENSE

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MATERIAL SENSE

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MATERIAL SENSE OKALUX

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SPEEDO 速 & ELEMENT SIX BV

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BART HESS

SCHOTT AG ADVANCED MATERIALS DESIGNTEX

TU DELFT, RESEARCH INSTITUTE UNIVERSITY OF GHENT

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Material Sense Introduction

Material Sense is a dynamic project organisation linking designers, researchers, and cutting edge companies. By collaboration in exploring the world of materials and linking expertise, a new materiality in products can be created.

By related workshops, lectures, in house training and advisory for companies, Material Sense actively involve people in the process of materials selection, exploration, research, development and application.

Founded in 2002 by designer and materials expert Simone de Waart, the independent platform aims to inspire designers, researchers, students and entrepreneurs to reach for new materials insights and innovative products. Material Sense is firmly connected to education and exchange knowledge at the start of the materials and design process.

Material Sense shows ‘sensorial’ properties of materials in every sense of the word and emphasize the importance of the meaning of materials within the design process. The name stands for the common sense of using specific materials to optimize the quality of products, for products that appeal to the senses and the sensory qualities of materials.

Annually a presentation takes place based on an actual theme related to materials and innovative product development. The highlighted theme gives insight in ongoing actual movements in materials development, aims to inspire, presents possibilities and provoke innovations.

The selection here is compiled especially for Addicts’ NANO tech theme. Published materials are connected to the international travelling exhibitions of Material Sense, like Rematerialize!

Concept, creative direction and materials research by Simone de Waart, materials research and production Ann de Gersem // www.materialsense.nl, mail@materialsense // photo: by manufacturers, designers, and Material

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Schoeller Technologies AG & Tass Textillagentur Nanosphere ©

Nanosphere® finishing technology is based on the self-cleaning principle of the lotus plant and is nearly a perfect copy of nature. Water, stains and other substances such as ketchup, honey, oil, red wine or blood simply run off the nano-surface.

Textiles with a Nanosphere® Surface finish need to be washed less frequently and at lower temperatures. This leads to savings in consumption of energy, detergents and water.

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Material Sense d30 technology

‘d3o sheet material’ (mesh 4mm & 6mm, contour 10mm) and d3o base material.

d3o technology d3o is a specially engineered material made with intelligent molecules. They flow with body movement, but on shock they lock together to absorb impact energy. d3o is used as flexible protection incorporated into apparel and accessories.

The molecules flow past each other at low rates of movement with the natural movement of the body, but when subjected to an impact that requires the molecules to move very quickly, they instantaneously lock together by linking to form a protective barrier.

‘Prototype soft hat’ containing d3o technology and components

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Racer Glove with d3o

The bi-density racer knuckle is very soft and flexible but, through the integration of d30 technology, any shock to the area is quickly absorbed. d30 has also been incorporated into all key impact areas on the glove in the back of the hand, cuff and base of the palm to provide all over hand protection.

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Material Sense Nanogel

Nanogel

Nanogel is a unique form of highly porous silica. The characteristics of this material – such as high surface area and large pore volume - set it apart form common silica products. It is known as the lightest weight and best insulating solid in the world. It was originally developed for the aerospace industry and currently also used in coats and as insulation for buildings.

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Okalux Okagel

OKAGEL The translucent facade element OKAGEL of OKALUX is a new class of IGUs, filled with Nanogel .This system is able to fulfil various different demands like highly efficient thermal insulation, light transmission or shading factor at the same time.

OKAGEL Light Diffusing Nanogel Insulating Glass offers a heat insulation quality so far unknown.

The translucent nanoporous granulate in the cavity results in • Best possible even light distribution into the room, independent of changing irradiation conditions together with glare protection • project-specific light transmission and total solar transmittance • excellent heat insulation • outstanding sound attenuation • UV control according to requirements • appealing appearance of insulating glass in daylight or artificial light • effect of depth when viewed from inside and outside

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‘FAKE FUR’

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Bart Hess Fake Fur Collection

‘a Hunt for High-tech’

In a world…where nature and science emerged,

The ‘future fur’ shows that it is more interesting

where technology breathes and where living

to imitate an imaginary world… and is based on

without is impossible. This futuristic world is

biomimetics of animal skins.

the inspiration for a collection of imitation fur, a collection for the fashion industry.

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Speedo® Fastkin ™

SPEEDO ® Fastskin(TM) is the most technically advanced swimwear ever made. This unique fabric mimics a sharkskin with dermal denticles - tiny hydrofoils with V-shaped ridges that decrease drag and turbulence around the

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body. Muscle compression components reduce muscle vibration. Seaming improves muscle coordination. Waist to ankle styling.

Drawstring waist. Fabric: 74% polyester/26% Lycra® spandex

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Element Six BV Synthetic Diamond

DIAMOND SCALPEL Diamond scalpel for cosmetic surgery, with a super sharp blade made of synthetic diamond mounted in a titanium handle. The diamond blade gives the surgeon the highest quality cut; wounds heal better and faster. Diamond knives can be used for hundreds of procedures without losing their sharpness.

DIAMOND KNIFE The diamond knife for ophthalmic surgery is mainly used for cataract surgery, with a super sharp blade made out of synthethic diamond mounted in a titanium handle. The diamond blade gives the surgeon the highest precision and the cleanest cut. The handle has a special connection for the washing machine for easy and safe cleaning (luer lock).

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Schott AG Advanced Materials Color Effect Glass

COLOR EFFECT GLASS This coated glass is produced using the socalled SOL-GEL dipping process and consists of optical interference layers that are responsible for achieving the desired colourful effects. The colours range from blue to gold and can be applicated in buildings. The predominantly oxidic layers are hard, resist scratches and offer high chemical resistance.

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Designtex Nano-Tex™

Follow closely on the heels of Zeftron Contex Solution-dyed nylons and eco-intelligent polyesters. The manufacturing process of these materials turns PET from soda bottles and x-ray film into fiber, which is than made into yarn.

Appleseed, upholstery is a piece dyed material that uses a high sheen accent yarn for visual depth and texture. This 100% post-industrial recycled polyesther has NANO-TEX resist spills, which gives it high performance characteristics for high traffic areas and environmental qualities that won’t interfere with the product’s recyclability. Appleseed is ideal for both wrapped panel and seating applications.

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TU Delft, Research Institute Mussel Glue

MUSSEL GLUE It is almost impossible to make glue that will work under water. The blue mussel is able to steady itself under water by attaching itself to a surface by using its own mussel glue. Because the glue maintains its strength in a wet and salty environment, which resembles the human body, the mussel glue is suitable for medical purposes. TU Delft has been trying to develop a synthetic protein that resembles mussel glue protein for several years now. Important applications could be in gluing fractures and injured intestines.

‘MUSSEL GLUE’

Ronan & Erwan Bouroullec // www.bouroullec.com // Photo ©Ronan et Erwan Bouroullec

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Research institute / TU Delft, Holland, Technology of Natural Sciences, DeltChemTech.

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University of Ghent Dragline Silk

the superior toughness of the fibres will be used in applications such as bullet proof vests, ropes, parachutes, or as a medical support for healing complicated injuries.

Grado Zero Espace in collaboration with the University of California has created the first spider-web fabric. For years, textile research has attempted to integrate the DNA of a particular spider species, the Nephila Clavipes, into other organisms, in order to obtain organic material with the performance features of a spider web: it looks like silk, is elastic as nylon and thirty time stronger than Kevlar.

DRAGLINE SILK Dragline silk combines great extensibility with tensile strength. As such, its tough-ness is comparable to these of high-performance synthetic fibres like aramid fibre.

The University of Ghent is one of the laboratories researching for spider silk.

Imitation synthetically will be possible to be expected within coming years. When succeed,

‘spider silk’ University og ghent, belgium, faculty of engineering, department of textiles.

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FILIP DANIELS & JAN HOEBEECK

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FILIP DANIELS & JAN HOEBEECK

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KIM VAN DER HEYDEN

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JEFF WYCKOFF

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KIM VAN DER HEYDEN

JEFF WYCKOFF

MATERIALISE MGX & PATRICK JOUIN

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MATERIALISE MGX & PATRICK JOUIN

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Filip Daniels & Jan Hoebeeck Sundial Periodic Table

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Sundial periodic table

Human kind has always tried to get a hold of the world within which it exists.

By ordering nature in a rational way, attempts have been made to measure and control reality.

The Russian chemist Dmitri Mendeleev’s periodic table is one such attempt: it lays out a grid that provides a specific description for all atoms, even for elements that have not yet been discovered, but which the system provides a description for. One could therefore call the periodic table a representation of the human wish for absolute control over the cosmos, mostly in order to exploit it.

We like to wonder whether this absolute control and predictability aren’t just illusions. In our design of the periodic table, nature itself, in the form of light, gets to play a dominant role in the representation of the elements, and in the legibility of that representation.

The sun and the effects of sunlight have been used to investigate and measure human reality for ages. Sun, moon and stars have been employed as tools for positioning and measuring who and where we are.

The sundial is one such device, which allows us to position ourselves in time.

This principle of the sundial, its play of light and shadow, lays on the basis of our three-dimensional design for the periodic table. The (il)legibility of this design depends upon the position of the source of light vis à vis our three-dimensional lay-out of the periodic table.

While the earth revolves around the sun (in a manner comparable to the movement of electrons around an atom’s nucleus), a play of light and shadow disturbs the interpretation of the system. There is to be only one singular moment in time when our design reveals the order Mendeleev attempted to represent. This way the ‘moment of truth’, of ‘seeing the light’ becomes a tiny volatile and elusive point in time, which might be understood as an illusion. Thus a predictable nature, which can be ordered and therefore mastered, is questioned.

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Bouroullec Cloud modules 2002 | bouroullec cloud

close-up sequence of one of the elements of the sundial periodic table

jan.hoebeeck@student.sintlukas.be // filip.daniels@student.sintlukas.be

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Kim Van der Heyden Microscope

A contemporary plague Back in the old days mice and cats were the most significant carriers of diseases.

Nowadays, it’s all about computer viruses.

The computer has become a true human extension. We trust our system, yet when a virus is attacking our files, part of our lives seems lost.

Kim’s concept is about redesign of those ‘old’ viruses, such as the Ebola virus.

At first sight, it looks similar, yet when looked upon more carefully, the shape is created by bits and bytes: zero’s and one’s.

The binary connotation emphasizes todays viruses. It shows a contemporary plague.

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VIRUS “EBOLA”

VIRUS “INFLUENZA”

VIRUS “HIV”

Project “WIT”: Sint Lukas Brussel // vanderheyden.kim@hotmail.com

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VIRUS “H5N1”

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Jeff Wyckoff Double Portraits | The foetus series

‘Double Portraits’ are phototransfer on petri dishes with the bacteria from the persons mouth grown on a layer of agar, they are both a physical and biological portrait.

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Jeff Wyckoff is an artist and scientist living and working in New York // jwyckoff@hotmail.com

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‘The foetus series’ are phototransfers on microscope slides in Coppin jars of a pregnant woman through all 9 months of her pregnancy. This replaces the foetus we see in jars in labs and sideshows by putting the mother in the jar.

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Materialise MGX & Patrick Jouin Production process S2 Solid Collection

Ever since the start-up of the department, Materialise.MGX has been looking for innovating ideas to work on, preferably ideas or forms that seemed almost impossible to produce. This search has lead to our existing collection of designer products, but it was also the start of some interesting collaborations with designers like for instance Patrick Jouin and Arik Levy, which resulted in an astonishing collection of furniture and even art objects. With these projects and collaborations, Materialise.MGX wishes to promote design, but also tries to emphasise the endless possibilities of the techniques and the futuristic – but not farfetched - ideas behind it all.

In 2004, Materialise.MGX started a project with French designer Patrick Jouin, who had discovered the Rapid Prototyping techniques Selective Laser Sintering and Stereolithography, as they were developed and used by Materialise. This encounter lead to SOLID, an amazing collection of selfproduced furniture designs, which are the result of Patrick Jouin’s research into the possibilities and qualities of these stunning techniques. Up till now, the RP techniques had only been used for small-scaled models in plastic, but together with Materialise.MGX, Patrick Jouin is now taking the entire process to another level, previously unheard of. This collection shows the endless possibilities and the great potential that lies in these

remarkable manufacturing techniques as they have been developed by Materialise NV. Pieces and forms that were previously impossible to build by any mould, can now be produced on a large scale.

The entire SOLID collection is designed with the RP techniques in mind. Patrick Jouin first focussed on the material itself. Once this was mastered, he started reflecting on how the qualities of the material, together with the techniques, could evolve into the object. For the table base, SOLID T1 and the chairs SOLID C1 and SOLID C2, Patrick Jouin opted for the RP technique Stereolithograpy. The forms of the table base, SOLID T1, and chair, SOLID C2, are reminiscent of blades of grass or ribbons waving in the wind and weaving together. The second chair, SOLID C1, is based on a random, 2 dimensional pattern that is taken to a 3 dimensional level. SOLID S1, Jouin’s stool, is fabricated with the RP technique Selective Laser Sintering. The primary structure of the stool is a solid bone-like configuration of forms that supports the secondary structure of the object, which takes the shape and feel of intertwining roots.

‘S2 Solid collection’ production process

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S2 Solid collection

‘S2 Solid collection’

by Patrick jouin & Materialise MGX

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Materialise MGX in collaboration with Patrick Jouin // www.materialise-mgx.be

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‘zoom in c1 Solid collection’

by Patrick jouin

‘C1 Solid collection’

by Patrick jouin

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CHRIS EWELS

HORVÁTH ENDRE

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CARLA BITTENCOURT

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SUSANA TRASOBARES

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Horvรกth Endre I love Nano

TITANATE NANOWIRES These are SEM (Scanning Electron Microscope). The picture was taken from TITANATE NANOWIRES. The chemical composition is NaxH2-xTi3O7 but it is a contraversal topic in the literature. Their diameter is about 30-130 nm and their lenght can be few hundreds of nanometers up to few teens of microns. (Chem. Mater. 19 (4): 927-931 FEB 20 2007) These nanowires form aggregates and for the microscopic sample preparation he ultrasonicated them in ethanol. Then he found this heart-like aggregate of nanowires and he took the pictures from it.

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Carla Bittencourt Carbon poetry

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1.2.3.4.5. MULTI-WALL CARBON NANOTUBES FUNCTIONALIZED WITH CF4 AND DECORATED WITH DIFFERENT AMOUNT OF ANGSTRONS OF GOLD EVAPORATION.

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Synthesised: Alexandre Felten (University of Namur / Belgium) and Carla Bittencourt (LCIA - Materia Nova - Mons / Belgium). // Analysed: Duoduo Liang and Rolf Erni ( EMAT / University of Antwerp / Belgium) // Studied: Chris Ewels (Nantes / France)

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Chris Ewels “Peapods”

‘Peapods’ C60 moleculas inside carbon nanotubes

Images by Alexandre Gloter, Universite Paris Sud, and manipulated

by Alexandre Gloter and Chris Ewels // www.ewels.info

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These images show ‘peapods’ - C60 molecules inside carbon nanotubes - you can see these are the ones with the small round circles within the tubes. Each of these round molecules is less than 1 nanometre in diameter.

The resolution with the modern electron microscopes is truly incredible, and we are now at the limit of being able to image individual atoms. We have played with the colour pallette, particularly in ‘image 2’, to bring out the detail of the hexagonal atomic lattice that makes up the carbon nanotube walls. Also visible in many of these is that there are normally many impurities - unusual curved and rounded structures where the carbon forms structures intermediate between the football shaped fullerenes, and the tubular carbon nanotubes. The varying architecture at the nanoscale is sometimes very strange and beautiful!

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Susana Trasobares Plasma attack & Nanoscale bamboo

Plasma Attack

The image shows nanotubes that have been attacked by a plasma, which has peeled surface layers off the tubes, giving them a barbed surface structure like a thorned rose. These structures are potentially interesting for use in mixtures with plastics.

Collaboration: Argonne National Labs & University Paris Sud

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Nanoscale Bamboo This image nitrogen doped carbon This imageshows shows nitrogen doped carbon nanotubes.

The structure of these nanotubes.

The structure of these nanonanotubes is slightly to that tubes is slightly differentdifferent to that of normal of normal for nanotubes, fortubes example nanotubes, example the show the tubes internal walls, like internalshow partition walls, partition like nanoscale nanoscale bamboo. bamboo.

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ALI CABBAR

ALI CABBAR

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ALI CABBAR

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ALI CABBAR

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LIEVEN DE COUVREUR BERNARD LAHOUSSE

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LIEVEN DE COUVREUR BERNARD LAHOUSSE

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LIEVEN DE COUVREUR BERNARD LAHOUSSE

LIEVEN DE COUVREUR BERNARD LAHOUSSE

LIEVEN DE COUVREUR BERNARD LAHOUSSE

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nano nutrition

Ali Cabbar Strawberry fields [ge . net . i . cal . ly mod . i. fied]

Strawberry Fields

A strawberry from the installation Strawberry Fields [gen.et.i.cal.ly mod.i.fied] Brussels 2007 March

Ali Cabbar // www.alicabbar.com // alibxl@skynet.be // Photo © Fahire Kurt

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Painted wood Approx. 7,5x7,5x11cm

Strawberry Fields [ge.net.i.cal.ly mod.i.fied] A view from the installation Brussels 2007 March

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Study for designer Fruits 124

‘Study for Designer Fruits’ No: 1, 2, 3, and 4 2001 Etching 24,5x20,5cm

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126

Print on canvas 90x120cm

Designer Peppers 2006 Print on canvas 120x90cm

Chili Stripes

Chili Stripes ,2006

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gm-Packaging Design

‘Packaging design for GM products’ 2003 Print on cardboard 12x6x6cm (3 dimensional)

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Sweet Bella

Sweet Bella (color catalogue) 2006 Print on canvas 90x120cm

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1

nano nutrition

Lieven De Couvreur & Bernard Lahousse

‘a delectable meal for the mind’

Food For Design

::FOOD for design:: The first aim of this project is to explore and understand the physicochemical properties of materials / ingredients and apply this under-standing when designing. ::food for DESIGN:: A different way of thinking : abandoning the role of “creator” and “descending” to the role of a participant playing within the rules of an experimental process.

All experiments come into being as a result of self-formation processes. ::food FOR design:: In exploring the materials the main focus lays on the food as in exploring the structure the primary focus lays on the process.

The goal of this cross-fertilisation project is to add more senses / experience to design, it is a way of sustainable, random, natural thinking to in-spire others, giving food for the future.

Lieven De Couvreur & Bernard Lahousse // www.foodfordesign.be // Photo © De Couvreur & Lahousse

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FOODSCAPES is a new initiative of â&#x20AC;&#x153;Food for designâ&#x20AC;?.

The objective is to inspire new uses for food materials and provoke new applications within a design context.

Most experiments were born purely out of curiosity to see what happens when... without any attachement to products yet.

Just new recipes for both old and new materials.

The outcome is a feast of surfaces, textures, colors and other sensorial elements, using a large palette of food materials.

So please take a seat and ..

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`ot ja \gf\gjd_n' oc` hjno dhkjmo\io ja rcd^c dn lpdidi`' \i \iod(a`q`m \b`io `nk`^d\ggt pn`apg \b\dino h\g\md\) Oc` h`_d^d

Lpdidi` dn `som\^o`_ amjh oc` ]\mf ja oc` Njpoc <h`md^\i ^di

i\ggt dhkjmo\io k\mo ja oc` om`` dn oc` ]\mf' rcd^c dn nomdkk`_ ^cji\ om``) Oc` om``n di ocdn b`ipn \m` oc` njpm^` ja \ q\md

amjh oc` om``' _md`_ \i_ kjr_`m`_)

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( Api^odji \i_ kmjk`mod`n ( i\ggt dhkjmo\io k\mo ja oc` om`` dn oc` ]\mf' rcd^c dn nomdkk`_ amjh oc` om``' _md`_ \i_ kjr_`m`_) Lpdidi` dn \ ag\qjpm ^jhkji`io ja ojid^ r\o`m \i_ ]doo`m

g`hji) <^^jm_dib oj om\_dodji' oc` ]doo`m o\no` ja \iod(h\g\md\g lpdidi` ojid^ g`_ =mdodnc ^jgjid\gn di Di_d\ oj hds do rdoc bdi' ocpn ^m`\odib oc` bdi \i_ ojid^ ^j^fo\dg' rcd^c dn nodgg kjkpg\m ( Api^odji \i_ kmjk`mod`n ( oj_\t di ]joc Di_d\ \i_ Bm`\o =mdo\di' \i_ di joc`m ajmh`m =md

odnc ^jgjid`n) Lpdidi` dn jao`i \__`_ oj nom``o _mpbn ^j^\di` Lpdidi` dn \ ag\qjpm ^jhkji`io ja ojid^ r\o`m \i_ ]doo`m jm f`o\hdi` di jm_`m oj ^po oc` kmj_p^o \i_ h\f` hjm` g`hji) <^^jm_dib oj om\_dodji' oc` ]doo`m o\no` ja \iod(h\g\md\g kmjado) lpdidi` ojid^ g`_ =mdodnc ^jgjid\gn di Di_d\ oj hds do rdoc bdi' =`^\pn` ja don m`g\odq`gt ^jino\io \i_ r`gg(fijri agpjm`n

^`i^` lp\ioph td`g_' lpdidi` dn \gnj pn`_ di kcjoj^c`hdnomt \n ocpn ^m`\odib oc` bdi \i_ ojid^ ^j^fo\dg' rcd^c dn nodgg kjkpg\m \ ^jhhji agpjm`n^`i^` no\i_\m_) oj_\t di ]joc Di_d\ \i_ Bm`\o =mdo\di' \i_ di joc`m ajmh`m =md

odnc ^jgjid`n) Lpdidi` dn jao`i \__`_ oj nom``o _mpbn ^j^\di` ( J]e`^o ( jm f`o\hdi` di jm_`m oj ^po oc` kmj_p^o \i_ h\f` hjm` kmjado) Oc` `i`mbt amjh oc` npi di^gp_`n ijo jigt qdnd]g` gdbco ]po \gnj r\q`g`ibocn gjib`m #diam\m`_$ \i_ ncjmo`m #pgom\qdjg`o$ =`^\pn` ja don m`g\odq`gt ^jino\io \i_ r`gg(fijri agpjm`n

oc\i qdnd]g` gdbco) Oc` r\q`g`ibocn ja qdnd]g` gdbco di^m`\n` ^`i^` lp\ioph td`g_' lpdidi` dn \gnj pn`_ di kcjoj^c`hdnomt \n amjh qdjg`o oj m`_ \^mjnn oc` nk`^omph) Ncjmo`m oc\i qdjg`o \ ^jhhji agpjm`n^`i^` no\i_\m_) \m` r\q`g`ibocn m`a`mm`_ oj \n pgom\qdjg`o #PQ$) Pgom\ h`\in ]`tji_' nj pgom\qdjg`o h`\in ]`tji_ #\^op\ggt' ncjmo`m oc\i$ qdjg`o) Ocdn \^odqdot dn \ ndhkg` h`ocj_ ajm _`hjinom\odib PQ ( J]e`^o ( gdbco km`n`i^`) Rc`i \ kcjoji ja PQ `i`mbt dn \]njm]`_' do dn m``hdoo`_ ]t oc` lpdidi` di ojid^ r\o`m \n \ kcjoji ja qdnd]g` Oc` `i`mbt amjh oc` npi di^gp_`n ijo jigt qdnd]g` gdbco ]po gdbco) Ocdn kmj^`nn dn ^\gg`_ agpjm`n^`i^`)

\gnj r\q`g`ibocn gjib`m #diam\m`_$ \i_ ncjmo`m #pgom\qdjg`o$ oc\i qdnd]g` gdbco) Oc` r\q`g`ibocn ja qdnd]g` gdbco di^m`\n` amjh qdjg`o oj m`_ \^mjnn oc` nk`^omph) Ncjmo`m oc\i qdjg`o \m` r\q`g`ibocn m`a`mm`_ oj \n pgom\qdjg`o #PQ$) Pgom\ h`\in ]`tji_' nj pgom\qdjg`o h`\in ]`tji_ #\^op\ggt' ncjmo`m oc\i$ qdjg`o) Ocdn \^odqdot dn \ ndhkg` h`ocj_ ajm _`hjinom\odib PQ - a delectable meal for the mind gdbco km`n`i^`) Rc`i \ kcjoji ja PQ `i`mbt dn \]njm]`_' do dn m``hdoo`_ ]t oc` lpdidi` di ojid^ r\o`m \n \ kcjoji ja qdnd]g` gdbco) Ocdn kmj^`nn dn ^\gg`_ agpjm`n^`i^`) Lieven De Couvreur & Bernard Lahousse // www.foodfordesign.be // Photo Š De Couvreur & Lahousse

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133 - a delectable meal for the mind -

07 PASTApages

Pasta Research 07-02-2005

18:52

Page 4

138 g Lieven De Couvreur & Bernard Lahousse // www.foodfordesign.be // Photo Š De Couvreur & Lahousse

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PASTApages

Cereals are truly a remarkable product of nature. It not only gives us all kinds of breads, 07-02-2005 18:49 3 pasta and other foodsPage applications, but also its derivatives are used in paper, textiles, buildings, adhesives. Its applications are huge.

Still using it as a material for designing biodegradable products is new.

That is why we wanted to explore its possibilities.

While exploring cereals, we quickly focussed on wheat because we needed a product that was malleable.

With wheat flours the cohesiveness is provided by the gluten proteins. Even in wheat you have a great range.

We chose durum wheats as they have the advantage of a high gluten content, and a gluten that is less elastic than bread-wheat gluten.

The elasticity of durum gave us more freedom in designing, bread wheat did not hold its shape enough. >

137 g 135

starch Ingredients: durum wheat/ semolina water Pasta machine mold steamer (full steam 100°C) oven (115°C)

Preparation: Mix 100 g durum wheat/ semolina with 30 g water so you become a dough.

Make pasta out of this dough by using the pasta machine until you reach a thickness of 1 mm.

Make little incisions in the dough. Place the dough on your mold. Steam for like 10 minutes (depends a little bit on your steamer).

You will see that the dough is becoming flexible and will cover the whole mold.

Take out if the steamer. Dry on 115 °C for at least one hour until dry. Take out of the oven. Take of the mold.

+++++++

Lieven De Couvreur & Bernard Lahousse // www.foodfordesign.be // Photo © De Couvreur & Lahousse

136

‘starch’ Modelling of the gelatinization of lenticular wheat starch granules as they are heated in water at the following temperatures: [01. 68°F (20°C)]; [02. 104°F (40°C)]; [03. 122°F (50°C)]; [04. 140°F (60°C)]; [05. 158°F (70°C)]; [06. 176°F (80°C)]; [07. 194°F (90°C)]; [08.

207°F (97°C)].

Notice the presence of an equatorial growth in (04), (05) and (06).

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Pasta Lights

Lieven De Couvreur & Bernard Lahousse // www.foodfordesign.be // Photo © De Couvreur & Lahousse

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‘pasta light structure’

‘pasta light’

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8

nano concepts 142

DRIES VERBRUGGEN & CLAIRE WARNIER

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DRIES VERBRUGGEN & CLAIRE WARNIER

DRIES VERBRUGGEN & CLAIRE WARNIER

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DRIES VERBRUGGEN & CLAIRE WARNIER

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nano concepts

4

Dries Verbruggen & Claire Warnier Unfold

The UNFOLD project

The UNFOLD project started in 2001 when Dries Verbruggen worked together with Claire Warnier on a project to measure his body surface. They accomplished the task by using stamps with a size of 1, 4, 16 and 64 square centimeter. The result after a few hours of meticulous stamping: 1.98m2 and a series of photos by Claire.

One of the pictures was enlarged till the same measure of 1.98m2 with a height equal to Driesâ&#x20AC;&#x2122; length (1.73m).

www.unfold.be // dries@unfold.be

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A fascination for surfaces was born and the two worked together on the next project, the unfolding of 3d models of the human body. Unfolding a square box is easy, but unfolding complex forms is something else. This generates new patterns and asks for new production methods. A computer program developed for unfolding easy 3d models was used to unfold the complex 3D scan models.

The high complexity of the model resulted at first in a useless though fascinating exploded man pattern. After 3 months of work they created a pattern which was sewn together in a 2,5D sculpture in thick white felt. A flat surface with some relief.

This sculpture leaves the possibility to repuzzle the man into a 3D model or leave him flat as a 2D human carpet. â&#x2C6;?

How can you reproduce three dimensional objects from computer generated flat patterns?

The search for a new technique and form language is a central theme in the UNFOLD project, it’s a tribute to the surface and its structural qualities. How can you reproduce three dimensional objects from computer generated flat patterns?

This search for techniques resulted in a series of jewelry tailored to a unique body.

3D-bodyscan of Claire provided by TNO Soesterberg, made it possible to actually use personal 3D body data to make lowrez replicas of body parts. This results in a series of jewelry in silver, porcelain and leather, created using both hand-crafted and computer-aided manufacturing methods. Although they are low-rez copies, they clearly show typical and personal forms of Claire’s body. ∏

In august 2003 Dries has sent in the project ‘100% UNfolding’ as his entry to the designboom competition under the the theme ‘folding chairs’ (in collaboration with 100% design 2003, london).

The international jury, composed among others of Tom Dixon and Karim Rashid, considered his entry ‘out of theme’, as it is a folded chair and not a folding chair which you can easily repete to fold and unfold. But they were very impressed by it’s artistic value and decided to publish more on his work in the online design magazine Designboom.com. The following text was accompanying the entry which was an unfolded cardboard version of the LCW chair designed by Charles and Ray Eames, often considered the best chair design ever made: “Eames was one of the first to press 2D plywood in 3D objects using high-tech production methods. I reverse this idea. As Charles Eames moulded his foldings, I unfold Charles his mouldings. By un-moulding the lounge chair wood to a flat square surface, it shows straight lines pop-up that seem to give you the possibility to fold your own LCW. The material in which you do this isn’t relevant. The chair has become a flat surface therefore it can be printed on any flat material.” ∏

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UNFOLD biggest project

By far the biggest project started in march 2007, one month before the Salone del Mobile would kickoff in Milan. Unfold, as their studio is called by now, was sitting together with Tony Michiels from JAGA, a Belgian radiator manufacturer.

Looking at a 3d scanmodel from Joris Laarmans ‘Heatwave’ radiator which will be presented for the first time in Milan they came up with something that initially started as a joke. A detail from the ornamental, baroque-like radiator was unfolded en blown up to a size of 20 x 10 x 4 meters. Reconstructed in 500 polypropylene parts with more then 4000 unique triangles will it function as the stand for presenting JAGAs hot water version of the ‘Heatwave’.•

END

nano concepts

4

Noumenon Pro.sensual Pro.ducts

Pro.sensual Pro.ducts PRO.SENSUAL PRO.DUCTS investigates how new technologies allow us to re-think food and its modes of consuption - the tools, the eaten matter and the space.

In this manner, it encompasses the production of responsible materials and the conception of a re-combinatory space of happenings - exhibition and performance spaces: m(eat)ings.

Collaboration: Lab(au)

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Now made expresso

Drinks mixer and dispenser

Spoons & Soup plates Temperature transforms the shape

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Performative Space

END

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