addict magazine

AD!DICTI NSP IRAT ION BOOK - mAyjuNjulAug 2 007 # 2 7

cReATIve lAB SINce 1997 - TAleNT AcceleRATORS

w w w . a d d i c t l a b . c o m

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

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Add-F77-discs_s.pdf 27.03.2007 9:41:16 Uhr

HERE IS A CHALLENGE.

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, creat-ing 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 op-posite to my vision of a positive attitude in creative processes.

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 build-ing 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 crea-tive. 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, result-ing 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 NANO AND HISTORY.

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 se-quence or the molecules, and you get an other outcome.

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 remem-ber 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. Wrong-fully. 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 es-sence 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 [email protected]

1RONAN & ERWAN BOUROULLEC

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BOUROULLECS

NINNA MARGRET THORARINSDOTTIR

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LUDIVINE LECHAT & NODEBOX

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MARC MEYER & NODEBOX

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PAPERKUT & POLITECNICO DI TORINO

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NODEBOX

MATERIAL SENSE

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MATERIAL SENSEOKALUX

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MATERIAL SENSE

FILIP DANIELS & JAN HOEBEECK

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KIM VAN DER HEYDEN

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CARLA BITTENCOURT

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HORVÁTH ENDRE

ALI CABBAR

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DRIES VERBRUGGEN & CLAIRE WARNIER

nano spaces

2nano fashion

3nano art

4nano materials

5nano science

6nano photo

7nano nutrition

8nano concepts

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ANDREW E. PELLING & ANNE NIEMETZ

MARC MANN

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V2_ / VIRTUEEL PLATFORM


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ARNO COENEN & HOOGVLIET COMMUNITY

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CRIS ORFESCU

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MOENEN ERBUER

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LANDER JANSSENS

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MARENKA DEENSTRA & JONATHAN DEN BREEJEN

BART HESS

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SPEEDO ® & ELEMENT SIX BV

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SCHOTT AG ADVANCED MATERIALSDESIGNTEX

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TU DELFT, RESEARCH INSTITUTEUNIVERSITY OF GHENT

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JEFF WYCKOFF

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MATERIALISE MGX & PATRICK JOUIN

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CHRIS EWELS

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SUSANA TRASOBARES130

LIEVEN DE COUVREUR BERNARD LAHOUSSE 150

NOUMENON

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.

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.

Nanotech Outreach Workshop

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.

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, nanotech-

nology 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.

Nano

Nanotechnology atechnology.

singleisn’t

The difficulty of communicating

about nanotechnology lies in the fact

that it’s so complex and abstract.

And with one nanometer being as

small as one atom, no wonder it’s

difficult to imagine. This complex

and abstract nature of nanotechnol-

ogy confronts us with a new

challenge. How should we explain

this to the average Joe? How should

we fuel their enthusiasm and interest

in something so different from what

we know? We feel this challenge

can only be overcome when it’s

tackled with a lot of fresh ideas and

a high level of openness for the

views and opinions of other people,

people who might or might not have

experience in science communica-

tion. And this AD!DICT book is one

of the several outcomes of the

Nanotech Outreach Workshop. It’s a

collection of different views on

nanotechnology. It gives us a fresh

insight in how nanotechnology can

be visualized and represented when

the limits of our imagination are

extended. Furthermore we also

wanted the creative community to

give their opinion on the possibilities

this new technology could offer.

There was only one condition that

had to be met. They had to take it

one step further than the futuristic

scenarios we already know. So

move over cyborgs and grey goo,

and make room for things that really

matter, like the environment, smart

materials, medicine, drug develop-

ment and so on. We hope that their

ideas can push the drive of the

researchers working today in

nanotechnology and can spark the

enthusiasm of a whole new

generation of students coming up.

What’s this interdisciplinarity about?

The multidisciplinarity of nanotechnology influences the way in which we commu-nicate.

What’s this interdisciplinarity about?

The multidisciplinarity of nanotechnology influences the way in which we commu-nicate.

Big thanks to:

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

views, dreams and ideas with us.

If you want to know more about nanotechnology:

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

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

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

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

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

_nology___building_the_future_from_the_bottom_up/html/1.stm

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

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

- www.nanotechproject.org/

- www.nano.gov

RONAN & ERWAN BOUROULLEC

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Cloud modules 2002

Cloud modules

Bouroullecnano spaces

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

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Ronan & Erwan Bouroullec // www.bouroullec.com // Photo ©Paul Tahon

Twigs

IdeAl HOuSe exHIBITION 2004BOuROullec TwIgS 1, 4

IDEAL HOUSE EXHIBITION 2004 INSTALLATION IMM KOLN, GERMANY 2

Grape carpet

Ronan & Erwan Bouroullec // www.bouroullec.com // Photo ©Paul Tahon

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gRAPe cARPeT 2001

BOUROULLEC TAPIS GRAPPE FROISSé

VELVET PURE WOOLMARK WOOL,

WEAVING OF A SINGLE PIECE.

THREE COLOURS: BLUE, GREEN OR GREY.

Grape carpet

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

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.

Cellular Sounds

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.

nano spaces

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This project is the collaborative effort of the media artist Anne Niemetz, and the nano-scientist 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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>

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

>

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.•

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MARC MANN

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MARC MANN




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A dress, (which is made out of 466 hexa-gons) 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.

Ninna Margret ThorarinsdottirLimbus Hexagon dress

Hexagon dress

nano fashion

Limbus

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Ring and Earrings

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

Cloud 2003 Ring and Earrings

nano fashion

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nano fashion2

Marc MannGloworm

The marcmann label from Hamburg has been presenting its first jeweLIGHTs col-lection 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 mouth-blown 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.

Gloworm:

www.marcmann.com // Hamburg, February 2007

into the LightBringing Antique Avant-Garde

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These brainwaves were followed by end-

less painstaking experimentation. Marc

Mann sifted through stacks of catalogues

as well as through the product ranges of

various model shops and suppliers of lab-

oratory 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 jewel-

lery 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 jew-

eLIGHTs collection today are consistent

further developments of this original idea.

Antique glass is still one of the key mate-

rials 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 (light-emitting 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 sophis-ticated 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 bat-teries 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 switch-ing mechanism is essential, especially for ensuring long periods of illumination.

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nano fashion2

V2_ / Virtueel PlatformFleshing Out

In the 21st century, cutting-edge technol-ogy, 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 manu-facturing protocols are required. Below, several design projects are described that spark the discussion on these new manu-facturing protocols, before the industry can sneak such developments into our everyday lives.

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

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 develop-ments that continue to influence contem-porary 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 tech-nological developments in fashion design, but also a critical signal of things to come.

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

adopt new technologies for fashion, art, and design were presented at an event titled FLESHING OUT Wearable Inter-faces, 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 wear-able 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.

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

Fleshing Out: Living Fabrics for the fashion industry

BIOCOUTURESuzanne 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.

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

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-

ing protocols, beup with the idea to

grow garments through the process of

bacterial cellulose, and in this way let

nature design for us. Due to the fact that

the cotton industry uses huge amounts of

land, water and pesticides, Lee thought it

would be great to design a material that

could grow itself organically.

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

and put together to form a compact

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 ≠

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not stretch and it absorbs water, making the current prototypes unsuitable to wear. Furthermore, the mixture grows every-where, 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 cel-lulose, 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

VICTIMLESS LEATHERIn 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

1

the ecological benefits, Lee’s BioCou-ture 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 bac-teria are not the only ‘growable’ organic materials used in the fashion industry. The projects raising the most heated ethi-cal debates on the future of technology in fashion design are those involving the growth of (semi-)living flesh and bones.

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 bac-terial 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

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).

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Symbiotica’

work is aim

at the ‘aest

of disappoin

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 Cui-sine, 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 for100 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. •

s

hetic

tment’

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BIOJEWELLERYA potentially economically viable project involving the growth of body cells for aesthetical purposes is the Biojewellery project by design researcher Tobie Ker-ridge 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-engi-neered 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 final-ized in a design studio, eventually result-ing 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 actu-ally 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 applica-tion of biotechnology.

At the start of the project it was not re-ally 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 ethi-cally? Where to get the cells from? Is it even allowed to operate someone who is not ill? And what happens when some-thing goes wrong; when cells die, or get an infection, or don’t become what they were supposed to become?

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 partici-pate in the project donated their wisdom teeth. Bone cells from these wisdom

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1, 2: BIOjewelleRyA MODEL OF THE RING USING A COMBINA-

TION OF COW MARROW-BONE AND ETCHED SILVER. THE INSCRIPTION READS AB INTRA,

“FROM WITHIN”.

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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.•

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teeth were prepared and seeded onto a bioactive scaffold. This bioactive pioneer-ing material encourages the cells to divide and grow rapidly in a laboratory environ-ment, so that the scaffold disappears and is replaced by living bone tissue. The cou-ples’ cells are grown at Guy’s Hospital and

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MARC MEYER & NODEBOX

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MARENKA DEENSTRA & JONATHAN DEN BREEJEN

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Emergent behaviour

nano art

Ludivine Lechat & Nodebox

In Artificial Intelligence, an agent is a software algorithm that has the ability to activate by itself and achieve goals auton-omously. 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 “emer-gent behaviour”.

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

Emergent Behaviorbring 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.

The concept of emergence can be ex-tremely 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. ≠

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

Frederik De Bleser, Tom De Smedt, Ludivine Lechat, Nicolas Marinus // Rendering software: NodeBox - http://nodebox.net48

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. ≠

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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 them-selves. The hair is a kind of nano-organism that has a set of simple tasks.

We can apply the same technique to crea-

tures. Describe one creature agent in pro-

gramming 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 ex-

plained this in detail in a presenta-

tion 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

agressive creatures). 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 habi-tat of a nano-spider that crawls around on it. Letters take shape as the spider patrols its territorry.

Recently, the Flemish Audiovisual Fund has granted us fundings to de-velop 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 preda-tors. Plants will adapt according to the environment and what types of creatures are good at spreading their seeds.

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Essentially, Creatures will be described at an elementary level of reproduction. All the rest is emergent. •

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.

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L-system Tree

nano art

Marc Meyer & Nodebox

Text: Tom De Smedt // Artwork: Tom De Smedt and Mark Meyer //

http://nodebox.net // Photo: ©Mark www.photo-mark.com

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.•

L-system Tree

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Organic Universe

nano art

Nodebox

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

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 draw-ing a tiny vector curve on each pixel.•

Organic Universe

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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 Quick-Time 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 hardware-accelerated and non-destructive.

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Nano Arte

nano art

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

Nan°art is a new frontier, a new bound-ary, 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.

Nan°art is an art project that brings together two distant worlds, art and sci-ence. It is being produced by Paperkut (Alessandro Scali and Robin Goode) in collaboration with the Physics Depart-ment 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 micro-organisms and cells.). A nanometre being0,000001mm and a thousand times smaller than the smallest human cell.

Nano ArteNano Arte

THe SIlIcON PlATe

USED FOR MICRO/NANO LITHOGRAPHY

Paperkut & Politecnico di Torino

‘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.

1.‘BeyONd HeRculeS cOlumNS’

CREATED BY THE FESEM (FIELD EFFECT SCANNING

ELECTRON MICROSCOPE) INSTRUMENT.

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2. mIcROlITHOgRAPHIc SIlIcON PlATe

ON WHICH THE ARTWORK‘BEYOND

HERCULES COLUMNS’ LIES.

1

ACTUAL SIZEtalks 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) INSTRU-

MENT.

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exHIBITION STANdS USED TO DISPLAY THE SEM MICROLITHOGRAFIC IMAGES.

PRINTED IN CARBON.

END

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 technolo-gies 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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Painting Nano

nano art

Cris Orfescu

Painting Nano

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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 deteriorat-

ing, 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

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 monochro-

matic 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.

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

65

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 (electri-

cally 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

nano art3

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Outlandish-photo

nano art

Lander Janssens

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

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Pong

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Ping Pong Pixel

nano art

Marenka Deenstra & Jonathan den Breejen

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.

Ping

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Ome Jan Schildkamp mosaic

nano art

Arno Coenen & Hoogvliet community

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.

Ome Jan Schildkamp mosaic

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nano materials

MATERIAL SENSE

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MATERIAL SENSEOKALUX

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MATERIAL SENSE

BART HESS

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TU DELFT, RESEARCH INSTITUTEUNIVERSITY OF GHENT

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SCHOTT AG ADVANCED MATERIALSDESIGNTEX

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SPEEDO ® & ELEMENT SIX BV

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

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. Mate-rial Sense is firmly connected to educa-tion and exchange knowledge at the start of the materials and design process. Annually a presentation takes place based on an actual theme related to materials and innovative product devel-opment. The highlighted theme gives insight in ongoing actual movements in materials development, aims to inspire, presents possibilities and provoke in-novations.

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.

Material Sense shows ‘sensorial’ proper-ties 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 materi-als to optimize the quality of products, for products that appeal to the senses and the sensory qualities of materials.

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

Material Sense Introduction

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

nano materials4

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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.

nano materials4

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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 instantane-ously lock together by linking to form a protective barrier.

D3O TECHNOLOGY

Material Sense d30 technology

nano materials4

‘d3O SHeeT mATeRIAl’(MESH 4MM & 6MM, CONTOUR 10MM)

AND D3O BASE MATERIAL.

‘PROTOTyPe SOFT HAT’

CONTAINING D3O TECHNOLOGY

AND COMPONENTS

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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.

RACER GLOVE WITH D3O

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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.

Nanogel

Material Sensenano materials

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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

Okalux Okagel

nano materials4

OKAGEL

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82

‘FAKe FuR’

In a world…where nature and science emerged,

where technology breathes and where living

without is impossible. This futuristic world is

the inspiration for a collection of imitation fur, a

collection for the fashion industry.

‘A HUNT fOR HIGH-TECH’

Bart Hess Fake Fur Collection

nano materials4

The ‘future fur’ shows that it is more interesting

to imitate an imaginary world… and is based on

biomimetics of animal skins.

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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

Fastkin ™

Speedo®nano materials

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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

SPEEDO ®

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.

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).

Synthetic Diamond

Element Six BV4nano materials

85

DIAMOND KNIfE

DIAMOND SCALPEL

This coated glass is produced using the so-called 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.

Color Effect Glass

Schott AG Advanced Materialsnano materials

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COLOR EffECT GLASS

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.

Nano-Tex™

Designtexnano materials4

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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’

RESEARCH INSTITUTE / TU DELFT, HOLLAND,

TECHNOLOGY OF NATURAL SCIENCES, DELTCHEMTECH.

TU Delft, Research Institute Mussel Glue

nano materials4

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

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MUSSEL GLUE

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,

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.

University of Ghent Dragline Silk

‘SPIdeR SIlK’

UNIVERSITY OG GHENT, BELGIUM, FACULTY OF

ENGINEERING, DEPARTMENT OF TEXTILES.

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KIM VAN DER HEYDEN

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5nano science

KIM VAN DER HEYDEN

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JEFF WYCKOFF

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JEFF WYCKOFF

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Filip Daniels & Jan Hoebeeck Sundial Periodic Table

nano science5

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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 Men-deleev’s periodic table is one such at-tempt: it lays out a grid that provides a specific description for all atoms, even for elements that have not yet been dis-covered, 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 re-presentation 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-di-mensional 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 sin-gular 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 illu-sion. Thus a predictable nature, which can be ordered and therefore mastered, is questioned.

Sundial periodic

table

Bouroullecnano spaces

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Cloud modules 2002 | bouroullec cloud

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

[email protected] // [email protected]

Microscope

Kim Van der Heyden

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.

nano science5

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vIRuS “eBOlA”

vIRuS “INFlueNZA”

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vIRuS “HIv”

vIRuS “H5N1”Project “WIT”: Sint Lukas Brussel // [email protected]

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Jeff Wyckoff Double Portraits | The foetus series

5nano science

‘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.

102Jeff Wyckoff is an artist and scientist living and working in New York // [email protected]

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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.

Materialise MGX & Patrick Jouin Production process S2 Solid Collection

nano science5

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 far-fetched - 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 self-produced 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 ‘ZOOm IN c1 SOlId cOllecTION’

BY PATRICK JOUIN

‘c1 SOlId cOllecTION’

BY PATRICK JOUIN

6nano photo

CARLA BITTENCOURT

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HORVÁTH ENDRE

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CHRIS EWELS

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SUSANA TRASOBARES

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SUSANA TRASOBARES

TITANATe NANOwIReSThese 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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I love Nano

nano photo

Horváth Endre

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Carbon poetry

nano photo

Carla Bittencourt

1.2.3.4.5. mulTI-wAll cARBON NANOTuBeS

FUNCTIONALIZED WITH CF4 AND DECORATED WITH DIFFERENT

AMOUNT OF ANGSTRONS OF GOLD EVAPORATION.

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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“Peapods”

nano photo

Chris Ewels

C60 moleculas inside carbon nanotubes

Images by Alexandre Gloter, Universite Paris Sud, and manipulatedby Alexandre Gloter and Chris Ewels // www.ewels.info

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 struc-tures intermediate between the football shaped fullerenes, and the tubular carbon nanotubes. The varying architecture at the nanoscale is sometimes very strange and beautiful!

‘Peapods’

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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.

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Plasma attack & Nanoscale bamboo

nano photo

Susana Trasobares

Collaboration: Argonne National Labs & University Paris Sud

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Nanoscale BambooNanoscale Bamboo

This image shows nitrogen doped car-bon nanotubes. The structure of these nanotubes is slightly different to that of normal nanotubes, for example the tubes show internal partition walls, like nanoscale bamboo.

This image shows nitrogen doped carbon nanotubes. The structure of these nano-tubes is slightly different to that of normal nanotubes, for example the tubes show internal partition walls, like nanoscale bamboo.

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Nanoscale BambooNanoscale Bamboo

ALI CABBAR

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ALI CABBAR

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ALI CABBAR

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ALI CABBAR

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nano nutrion

LIEVEN DE COUVREURBERNARD LAHOUSSE

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LIEVEN DE COUVREUR BERNARD LAHOUSSE

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LIEVEN DE COUVREURBERNARD LAHOUSSE

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

Ali Cabbar // www.alicabbar.com // [email protected] // Photo © Fahire Kurt

nano nutrition1

A STRAwBeRRy FROm THe INSTAllATION

STRAWBERRY FIELDS [GEN.ET.I.CAL.LY MOD.I.FIED]

BRUSSELS 2007 MARCH

PAINTED WOOD

APPROX. 7,5X7,5X11CM

Strawberry FieldsStrawberry Fields

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123

STRAwBeRRy FIeldS [ge.NeT.I.cAl.ly mOd.I.FIed]

A VIEW FROM THE INSTALLATION

BRUSSELS 2007 MARCH

124

‘STudy FOR deSIgNeR FRuITS’

NO: 1, 2, 3, ANd 4

2001

ETCHING

24,5X20,5CM

Stu

dy f

or d

esig

ner

Frui

tsS

tudy

for

des

igne

r Fr

uits

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cHIlI STRIPeS ,2006

PRINT ON CANVAS

90X120CM

deSIgNeR PePPeRS

2006

PRINT ON cANvAS

120x90cm Chi

li S

trip

esC

hili

Str

ipes

128

SweeT BellA (cOlOR cATAlOgue)

2006

PRINT ON CANVAS

90X120CM

‘PAcKAgINg deSIgN FOR gm PROducTS’

2003

PRINT ON CARDBOARD

12X6X6CM (3 DIMENSIONAL)

gm-Packaging Design

129

Sw

eet Bella

Sw

eet Bella

SweeT BellA (cOlOR cATAlOgue)

2006

PRINT ON CANVAS

90X120CM

gm-Packaging Design

Lieven De Couvreur & Bernard Lahousse Food For Design

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

nano nutrition1

::fOOD for design::The first aim of this project is to explore and understand the physicochemical proper-ties 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.

‘a delectable meal for the mind’

130

- a delectable meal for the mind -

3

- a delectable meal for the mind -

3

fOODSCAPES is a new initiative of “Food for design”.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 cu-riosity 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 ..

foodscapes

‘PHOTON TONIC’ Lieven De Couvreur & Bernard Lahousse // www.foodfordesign.be // Photo © De Couvreur & Lahousse

132

133- a delectable meal for the mind -

‘SUGAR fOAM’

‘PHOTON TONIC’

134138 g

07 PASTApages 07-02-2005 18:52 Page 4 Pasta research


135

138 g

07 PASTApages 07-02-2005 18:52 Page 4 Pasta research 137 g

07 PASTApages 07-02-2005 18:49 Page 3

Cereals are truly a remarkable product of nature. It not only gives us all kinds of breads, pasta and other foods applications, but also its derivatives are used in paper, textiles, build-ings, adhesives. Its applications are huge. Still using it as a material for designing biode-gradable products is new. That is why we wanted to explore its possibili-ties.

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 ad-vantage 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. >

136

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.

starch

+++++++


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‘STARCH’

MODELLING OF THE GELATINIZATION OF LENTICULAR WHEAT

STARCH GRANULES AS THEY ARE HEATED IN WATER AT THE FOL-

LOWING 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).

138

Pasta Lights

‘PASTA LIGHT STRUCTURE’ Lieven De Couvreur & Bernard Lahousse // www.foodfordesign.be // Photo © De Couvreur & Lahousse

‘PASTA LIGHT’

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142


8nano concepts

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146


154

NOUMENON

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152

NOUMENON

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NOUMENON

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www.unfold.be // [email protected]

4

Unfold

nano concepts

Dries Verbruggen & Claire Warnier

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 Dries’ length (1.73m).

The UNFOLD project

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 re-puzzle the man into a 3D model or leave him flat as a 2D human carpet. ∏

The search for a new technique and form language is a central theme in the UNFOLD project, it’s a tribute to the sur-face 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 low-rez 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 cop-ies, they clearly show typical and personal forms of Claire’s body. ∏

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

146

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 collabora-

tion 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 fol-

lowing 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 meth-

ods. 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.” ∏

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 polypro-pylene parts with more then 4000 unique triangles will it function as the stand for presenting JAGAs hot water version of the ‘Heatwave’.•

UNFOLD biggest project

Pro.sensual Pro.ducts

Noumenon4

nano concepts

Collaboration: Lab(au)

Pro.sensual Pro.ductsPRO.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 pro-duction of responsible materials and the conception of a re-combinatory space of happenings - exhibition and performance spaces: m(eat)ings.

150

Now made expresso

Drinks mixer and dispenser

154

Spoons & Soup platesTemperature transforms the shape

ENDPerformative Space

BQuiet...

annonce addict 2007: annonce addict 2006 5/04/07 16:03 Page 1

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Test its two finishes, CyclusOffset and CyclusPrint. Test its substance range, from

70 to 350g/m2, and its creative flexibility. Test Cyclus hands-on: order a dummy

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And discover why Cyclus speaks louder than words.

Committed to preserving the environment, Dalum offers a full line of recycled paperdeveloped with an exclusive concept of industrial ecology recovering 100% of production residue.The company wellknown brand Cyclus is sold to wholesalers and printers worldwide.

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annonce addict 2007: annonce addict 2006 5/04/07 16:03 Page 2

Publisher & Creative Director Jan Van [email protected]

Chief Editors Fenna ZamouriNuno Oliveira

Lab ResearchersJo De Wachter (Imec)Ann Van DievoortElke Timmerman

Contributing LabMembers: see on all pages and check www.addictlab.com > projects > Nano Research

Head Office & subscriptions Ann Van [email protected]

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