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InnoMatNet project launched !!!

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InnoMatNet is a new project funded under the NMP (Nanosciences, nanotechnologies, materials and new production technologies) theme of the EC 7th Framework Programme.
InnoMatNet aims to advance the goal of an innovation society by developing a flexible approach that establishes teams of innovators, which link materials labs with industry (particularly the creative industry), as well as other innovation actors, providing support to help them bring new products and processes to market.
The project will identify the key stakeholders in the area of materials research in Europe, the gap between their needs and the existing offer of initiatives and tools that support their product or process innovation. Best practice case studies of collaboration between materials researchers and industrial entrepreneurs will be developed, aiming at identifying best-performing business models to bring “communities” together.
This will provide the basis for determining the priority focus of the flexible approach to train and network the key stakeholders.
A project website will be created as the focal information and networking platform for European material researchers and industrial entrepreneurs, as well as other relevant actors, in order to constitute teams of innovators able to close the loop from the labs to a product or a novel industrial process, using innovative and environmentally sustainable materials (low carbon, energy saving, recyclable, “green”).
Networking and training events will be organized in different European countries, aiming at bringing together all the right actors for new alliances and brokering collaboration between materials research and industrial entrepreneurs. Summer schools will also be organized to educate interested students and train young researchers and engineers active in the field.
The networking activities and interactive approach will allow the creation of the new alliances required for improving the coordination of high quality research.
To achieve these goals the project has gathered organizations that allow it access to different actors in the innovation process.

Transplant is official partner of the European founded project InnoMatNet.

 © 2011 Gerry Judah

”We are building on the ruins of the future”.

Dramatic opening for dramatic times. The weather changes, metaphorically and literally speaking. In the northern hemisphere the winter weather is slowly crawling upon us. We are unpacking the thicker clothes and preparing for the colder season. Living creatures reacts to the weather, human beings are no exception. We are more than ever facing the infuriated forces of nature, floods, hurricanes and earthquakes are roaming the globe. In what world do we seek to live, and under what circumstances?

Buildings and cities constructed on canvas, slowly and carefully, step by step.
With a precise hand, Gerry Judah^[1] spends hours detailing his architecture, floor by floor, window by window.When all pieces are put together, and the detailing is done, Gerry Juadh gets a broom. Within seconds the buildings that once stretched proudly up from the canvas, are now laid in ruins. The painting has not only faced a consequence from the broom in the artists hands, but also a man-made consequence far bigger than the concrete destruction on the canvas. In describing the artist’s work, Jenny Blyth says,  “Gerry Judah’s paintings are a direct response to conflict across the globe, and the impact of that violence, whether it is the consequence of war or natural disaster.“ He acknowledges the dangers of man’s impact on a finely balanced global ecology, and the decimation that unravels as we exploit the planet with an ever growing appetite. “
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© 2011 Kyoto Protocol Participation.

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As more tangible echo to global ecology, the Kyoto Protocol were agreed upon in 1997 and brought into action in 2005. As reminder, The Kyoto Protocol is a protocol to the United Nations Framework Convention on Climate Change (UNFCCC or FCCC), aimed at fighting global warming. The UNFCCC is an international environmental treaty with the goal of achieving the “stabilization of greenhouse gas concentrations in the atmosphere at a level that would prevent dangerous anthropogenic interference with the climate system.
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© 2011 President Ms. Maite Nkoana-Mashabane, United Nations/Durban Conference.

The goal, a legally binding agreement, were made between the participants and an average reduction of 5.2 % of greenhouse gases from the 1990 levels by the year of 2012 were decided. As the Kyoto Protocol is set to end in January 2012, all eyes are now turned to Durban in South Africa where, as we speak, the Durban Climate Change Conference is being held.

One of the greenhouse gases we ought to minimise is carbon dioxide, CO2. To make it easier and more approachable we need to make it tangible. Concrete seems like an innocent construction material in itself, solid, stone looking and durable. It is the most used man-made material in the world, the amount produced each year resembles  more than one cubic meter for every person walking this earth!
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© 2011 Novacem.

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It is estimated that about 7.5 billion cubic meters of concrete is produced each year. Concrete consists, as we know, among others of cement. In our speaches about global warming we should make a space for cement, the production of cement accounts for an estimated 5% of the global carbon emissions. That makes concrete one of the largest sources of man-made carbon -dioxide. What if somebody claimed that they could take away this fact about cement, and even better make it carbon-negative? Novacem, a London based company, has brought the new solution on the table. Expected to be on the market in 2014.

1. Gerry Judah (born 30 July 1951) is a British artist and designer who has created settings for theatre, film, television, museums and public spaces. He has recently returned to his fine art roots with highly acclaimed contemporary paintings exploring the effects of war and environmental catastrophes on the urban landscape which have entered a number of international private and public collections. [↩]

© 2011 Feel Good.

Last month, Jean-Noël Lafargue, teaching at the School of Art and Design of Le Havre (Fr) invited Alexandre Bau to make a lecture during a “the End of the World” workshop^[1]. What surprised us was that the recurrent concepts emitted by the students displayed apocalyptic and collapsing scenarios more then reconstructed realities. 

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© 2011 Simon Dale / 4000€ Off-the-Grid House.

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Regular echoes claim that we are entering “the End of our World” as we know it. Not only concepts, but sustainable off grid strategies, are reaching our emails, homes, lives. In reaction to this, communities and individuals are proposing alternative living scenarios. It seems like the desire to be OTG^[2] is becoming plausible, like this private project imagined by Simon Dale.
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It is demonstrating that a very affordable house could exist; of course, regulations and scalability are issues here, but this project could bring part of the answer to the global “rebooting” process. For the majority of the inhabitants in the developed world, being “off the grid” appears to be incompatible in an urban economy. However, it is not only possible, but a real option that functions. Over one million of persons are living willingly “off-the-grid” in USA today.

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 © 2011 Dan Nocera / MIT Lab.
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Soon, off-the-grid energy production could become a real global solution, thanks to one main discovery: Dan Nocera^[3] researching the theme of storing energy out of the sun, even when it does not shine. And the best is that it just need water, and not even clean water: waste waters works. Some serious new advances has been identified from the MIT, and the giant industrial Tata Group ($652 billions of annual turn over) recently invested into Professor Nocera’s technology, so we assume the hypothese that a resulting product might reach the market soon. 

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© 2011 Concrete Canevas.

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Without being alarmist (just a bit emblematic), or sound like “survivalists”^[4], Concrete Canevas structures sounds like a very good alternative for fast Off-The-Grid storage and living solutions as it requiers very low knowledge and maintenance when no reclaimed materials are available in situ. This unplugged future is actually representing an ocean of innovation, occasion alike to rethink our societies, and reconsider all our ways to interact, work, and live. During a common lecture in Oslo, we met Michael Weinstock^[5] who talked about three futures that Nature would create when an eco-system is collapsing: Nature disappear (everybody dies/ not an option), Nature simplify (eliminating partially elements or system/body parts), Nature increase complexity (within its communication systems for example, to slow down the fall).

Following Michael Weinstock thinking:

1) Our system might not die as it is. Or if we do, the Off-The-Grid will not be an option but the status.
2) We have a huge problem to simplify our societies and Off-The-Grid might help us to do so, followed by composites sustainable materials that embrace simplification essence. Find the right balance within our expansion (10 billions earth population is expected by 2050) is the challenge. Simplify and rethink the grids, networks are ones of the main issues.
3) Increasing complexity within our communication system, I think with all our emails, phones, app, websites and others, we did increase complexity.

The question is: does it slow down the falling process?
You are very welcome to leave your comments below.

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1. the School is focusing on graphic design and art. www.esadhar.fr [↩]
2. “Off The Grid” is a concept of living in an independent matter towards supplying systems and networks, mainly energy and water suppliers. [↩]
3. In 2010 “Let the sun shine” Material Update was updating our readers on the topic of solar energy and its new discoveries. [↩]
4. Survivalists or “Preppers” are individuals that prepares their life expecting a global shift within the world, and organizing a life relying on nothing else than their own structures [↩]
5. Michael Weinstock is Academic Head of the Architectural Association School of Architecture in London. Here is one of his last lecture in California. [↩]

© 2011 Once upon the time… Life

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Bacteria infiltrates our website to its own words and uses it as a communication platform. Manipulated, we are the puppets charged to deliver their message: the simple desire of being visible. You probably don’t know it, but bacteria has feelings, especially the complex of their profound silence and invisibility; that doesn’t stop some of them to attack without any regrets. Those micro, nomad, monster, fighters invade us and appear through our symptoms, showing their presence, affirming their existence. They blast like invisible flashes and take control of the Nordic Materials Update. Not totally contaminated yet, we try to keep strength to transmit to you keys to avoid them – resistance! If you value your health, come no closer!

(While you are reading this article, remember to thoroughly wash your hands and eyes.)

First symptom: “Hand in hand with bacteria.”

© 2011 Polytechnic University of Valencia.

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Who other than scientists would think that we could work together with bacteria? Did ever artists painters imagine bacteria as the cleaning ladies of their work of art (equipped with hoover and mop…)? Incredible and great, this process is the result of a collaboration between researchers from the Institute of Heritage Restoration and researchers from the Centre for Advanced Food Microbiology, both from the Polytechnic University of Valencia in Spain. They based their research on the work of the microbiologist Giancarlo Ranalli, from Italy. Working on the restoration of the church of Santos Juanes in Spain, Rosa Maria Montes and Pilar Bosch of the Valencia University tried new techniques, studying the restoration of the site of Campo Santi di Pisa in Italy. They applied numerical projection on the vanished parts of the painting and used the super powers of the Pseudomanas bacteria. The bacteria eats the white deposit due to accumulation of crystalline salt and gelatin glue, not erasable with traditional techniques. Until now, restorers often used toxic chemical substances or dangerous mechanical mediums.
As commented by Dr Bosch: “After the positive results to the tests, we purchase the studies to improve the technique and to expand it on other surfaces. In the nature, we have discovered a lot of kinds of bacterias that feed by eating lots of different things, we are convinced that we will be able to eliminate other substances on diverse types of materials.” Who knows, maybe soon bacterias will clean our dishes…

Second symptom: “The bacteria construction!”

© 2011 Smartsoils.

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After the bacteria housewives here comes the bacteria masons! GeoDelft has developed Smartsoils, based on a process that transforms the soil by making it stronger, more rigid or permeable. BioGrout is an in situ cementation process that uses calcium carbonate or silicate crystals depending on the soil. Soil-bacterias are injected into the ground with a solution of urea and calcium, that form calcite and provoke a cementation of the sand. BioGrout is porous, this is one of its main advantages, also it can immobilise heavy metals. The other techniques founded by GeoDelft are BioSealing, which blocks the ground and BioSlurry, that re-uses waste materials by cleaning the polluted soil and transforming its substance.. For now, the applications of Smartsoils are limited to sand, they will be soon expanded to peat and clay.

Third symptom: “A key to resist!”

© 2011 Rilsan / Agion.

Our fever and fatigue don’t prevent us from delivering you a secret; a solution to protect surfaces against bacterial effects. Its name is Rilsan, an antibacterial powder coating, 100% natural. Developed by the company Arkema, Rilsan reduces 99,9% of the bacterial population. Composed of ricin oil based polyamid 11, it is mainly applied on metals. Resistant to impact, abrasion, scratches, chemicals, high temperature and electricity, it is light, permeable, conductive and easy to clean. Rilsan is 100% renewable. It can be used in automotive industries, transport, furniture, sport, hospitals…

Agion is an other antimicrobial coating, based on silver ions that are incorporated in a zeolite carrier. Agion can be applied on flooring, hardware products, air filtration systems, paint, upholstery, healthcare products… Made by Sciessent in USA, it is certified Cradle to Cradle.

Fourth symptom: “Worn by bacteria!”

We can’t resist anymore, the invasion is almost complete. Why not accept the presence of bacterias and even wear them as a garment? What is more natural than finding these in a bucket of water, like it would have been planted and fished afterwords? This is the challenge that took Suzanne Lee, in collaboration with the scientist David Hepworth, by working on Bio-Couture. Combined with yeast and other microorganisms, certain bacterias create cellulose microfibrils during their fermentation in a sugary green tea solution. As the bacterias that clean the painting by eating salt, these bacterias feed themselves with sugar. The result looks like a thick skin (1.5 cm thick) that can be mouded when wet, or even sewn when dried. This material can be dyed or printed. Welcome to the future, where we have the possibility to grow our clothes!

What about a world where we could sign pacts with bacteria to work hand in tendril? Like in a science fiction movie, we could break the frontiers between different scales. Soon we will see bacterial cultures replacing cotton fields! Let’s hope that they will keep their mini size and will not be infected by an enlargement virus!

© Neri Oxman

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A fleur de peau

The holidays are coming, we start to pack by looking for bikinis, time to show our body and take to the sun, prepare your skin! The Biggest organ of  the body, our skin makes  a barrier between us and our surroundings. Its sensing receptors communicate us its data, the skin makes this link to the world. Composed of a range of layers, it renews itself constantly and protects us from exterior aggression. Flexible and elastic, it marries the forms of our bones, muscles and organs. As packaging, it transmits information about our culture, age, race, health, hygiene of life, the skin reveals our identity. The skin is a map of our memory, marked by scars that are the permanent prints of our experience. As a drawing, it can be corrected. The skin hides while revealing. Baby skin or elephant skin, up to you, but don’t forget your cream!

A double skin

The skin inspires, the skin has needs. More aesthetic than practical, “skin design” narrows the difference and makes a link between body and objects, by injecting its aspect to objects. Latex, silicon, thanks to their flexibility and softness can remind us of our proper skin. Not only aesthetic, this skin effect is developed in the medical area. Neri Oxman, an architect and designer from New York, develops surfaces, sculptures and objects based on biomimicry and technology. Carpal Skin, developed in 2009-2010, is a prototype of protective gloves against Carpal Tunnel Syndrome, made of an acrylic composite. Its aspect is inspired by animal coating patterns in the control of stiffness variation. For now, those gloves are in the museum of science in Boston.

Self repairing like skin

Who could imagine that our objects would have the power to scar themselves as we do? That seems pure science fiction? Arkema, a french company specialised in polymers, has developed Reverlink, an auto-reparing elastomer. Its patented technology is based on the supramoleculary chemistry. The molecules are assembled by thermo-reversible liaisons. In addition to being autoreparing, Reverlink absorbs shocks and vibrations, it resists to fire and to chemicals and it is renewable. It can be applied on plastics, metals, glass and has various applications; from paint, tar, corrosion protection, the sport industry and other…. Within some years, we will maybe cross Reverlink in our clothes.

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As flexible as skin

Far from metallic cubic robots, we open to you the doors to a hybrid world, where robots have a soft skin. Ali Javey, professor in the Berkeley university has developed an artificial skin printed with lines of semi-conductor composed of an organic polymer. This material can be used as a prothesis integrated into the brain to control joints and might be used in robotics. Ali Javey works with existing materials by developing new methods and electronical engineering, to find new applications. Flexible materials akin to skin are present in the electronics as in the solar world. These innovations, such as body batteries for example, open the field of possibilities of applications and even more, they will change totally the aspect of our daily objects. Think to the BMW Gina, developed some years ago, where the body of the car is nothing more than a polyurethane textile.

© Andrew Kudless

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A fat surface

The P_Wall designed by Andrew Kudless, looks like a huge stock of cellulite covering the wall of the San Francisco MoMa. This work explores the self-organisation of material under force. It is made by hexagonal tiles that are composed by a wooden frame, and plaster moulded in nylon fabrics. The weight of the plaster and water, on the fabric, has expanded and wrinkled it. The P_Wall seems extremely flabby and comfortable, unfortunately as we could say, it is only a lie, as it is hard. Could we add that it questions a visual comfort? Thinking that in function of our experience, we make links between visual aspect and tactile effect, this wall plays with its soft aspect and its hardness.

Thin or thick, hard or soft, electronic or not, our objects and spaces, as us, have their proper skin. Inspired by natural properties, or even developed through electronic, the skin shows us its face, not only a covering surface it can have added values. See you next month, with maybe some sun prints on the skin!

© Kate MccGwire

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Wings of material desire.

Inspired by Icarus, we attach wings to our back and fly carefully into the material world. Time passing, like Natalie Portman in Black Swan, we mutate, gradually growing feathers on our arms. Time to wake up! Far from the tar and feathers punishment, we welcome the spring by looking at eggs and down. The singing birds offer us their winter molt, that fill our pillows and adorn the Indian headdress.

What do feathers evoke? What are their special properties? In addition to keeping warm and being high thermal insulators, feathers are light, soft, fragile, waterproof, anti-bacterial and UV resistant. These are characteristics that inspire designers and scientists, without talking about their form and colour. Inspired by feathers, the materials that we serve to you today might make you fly away!

A feather composite.

© Richard Wool

The scientist Yiqi Yang, from the University of Lincoln Nebraska, created a bio-based composite adding chicken feather fibres into resin. She obtains a thermoplastic equivalent to polyethylene and the polypropylene, and it can be used in composites. Resistant to water, it is renewable and more sustainable than its cousins. Unfortunately, the methyl acrylate used to turn it into plastic stays pollutant. Her material is based on the properties of keratin, the protein that composes the dander.

By thinking about the tonnes of feathers that are generated by our chicken consumption, we can be glad to admit that they have a proper place in the cycle of materials. Other applications are still in research, such as chicken feather based fuels and textiles. Richard Wool, a professor who directs the Affordable Composites from Renewable Sources (ACRES) program at the University of Delaware (USA), has developed a circuit board made out of soybean oil and keratin from chicken feathers. This composite can be used in electronics such as the automotive and the aerospace industry.
It looks like the chickens have not had their final crow. Listen up!

We cross feathers in our walls, beds and wardrobe. The industrialisation of the new applications made out of their substitutes, are still in stand by. Happily the feather effect doesn’t limits itself to its use, as it can even be an inspiration. Which materials today could be great alternatives to feathers ?

Waterproof as a feather.

© Schoeller

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Who didn’t dreamed to behave like a duck, immersing under the water and staying dry? Here in Transplant the design factory, we have the chance to share the fjord with oyster catchers and seagulls. With mixed feelings about their shriek, we sometimes would wish to have similar coats instead of wet suits. There is a solution, Nanosphere! Certainly not the latest invention in textiles, but one of its best innovations. Nanosphere is a nanotechnology process inspired by the lotus leaf, whose surface is full of reliefs instead of being smooth. It is water repellent and auto cleaning. Even ketchup and honey don’t stick on it! Developed by Schoeller, a company specialised in technical textiles for clothing, it is now available for furniture, thanks to Designtex. This textile could solve hours of cleaning for desperate housewives and men, and change our washing machine water use.

Lighter and warmer than a feather.

© Nylstar

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We love our duvet, as much as if it would have been a trend, most of us would imagine keeping wrapped in it, even in the office – and during winter we do; jackets filled with down provide comfort and warmth. What about a fibre that could have a similar effect than the feather but even lighter? Impossible? Today not. Nylair by Nylstar is a hollow polyamide fibre that is 20-30% lighter than a standard polyamide, with better insulation and protection. It is the lighter fibre in its range. For those who prefer to keep warm it sounds like being a perfect alternative, even for underwear. Maybe we will regret that the sun came back, keeping it in our shelf until the next winter.

Feather invasion.

© Kate MccGwire

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How about an interior, where a biomorph feather sculpture behaves as if it was alive? Inbetween dream and reality our experience is linked to the presence of a material, an object and a shape that evokes movement. Kate MccGwire, a London based artist, is obsessed with feathers. She creates installations and sculptures that seem to move in the space as something impalpable and unreal, an appearance filled with energy that could escape in a snap. The infinite body of a dragon that tangles in on itself, who risks disappearing behind its own majesty. A beautiful work that brings us to another world. A deep impression of animality and dynamism that surrounds us.

Feathers have natural properties, they warm us and our houses and transmit their savage beauty and symbolism. Recycled feathers that bring their power in new materials, sounds like a dream, patience, it is ready to fly into our reality.

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© 2011 / Ernesto Neto

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By moving, by changing, we are in a constant search of balance, of comfort and for some of us on the edge, even, discomfort. Being good, feeling well, well being. By nature, education, habit, and even culture, we miss and desire, listening to our wishes. Welcome to a society where we want more than our basic needs. When we have pain, the role of being comfortable is not even to please our senses, but can be a desire of unfeeling, being anesthetized; like we need more comfort, a compensation, to soothe and to reassure us. To each of us comfort groups a whole of things, covering the palette of our senses -  eating chocolate, lying in a bed, smelling perfume, listening to music, admiring a painting… And what about the comfort through our Nordic Materials point of view ? Linked to their aspects, their effects; visual as tactile, the materials evoke and provoke sensations. Should we speak about affect ?

By touching, by sensing, we discover, rediscover and appreciate or depreciate. Feeling. This month we share with you our duvet. Take a pillow and sit comfortably.

A radical comfort.

© 2011 / Ernesto Neto

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Widely known Ernesto Neto, the Brazilian artist is making those huge flabby sculptures. We had the chance to meet his work “in real!”, in the Astrup Fearnly Museum in Oslo. Biomorph, organic, in between the body and its surrounding, almost architectural, he pushes us to get in contact with his sculptures, almost absorbed. Limp and soft, we are lost in the material, without speaking about the basic “cocoon”. An interesting experience that reminds us of the effect of the materials and the apprehension we have, of our body in the surrounding space. Where are at the limits of our senses when we are in a such radical comfort, how to locate our body ? By working on the visual, tactile and scent aspect, Ernesto shares with us his world in between tensions, relaxation, fineness, overflow, softness, lightness, hard and flabby; complementary and contraries that nourish his work. His sculptures dialogue by themselves, bringing us to a paradise at the time of the experience.

A soft comfort.

Our bones are our structure, but our bones are also the subject of discomfort. Here comes the need to add softness to our objects, like our chairs, sofas or beds for example, if we want to be comfortable. Until then, polyurethane foam had the monopoly of this flexibility. Later came latex, recycled latex and  visco-elastic foams, silicon gels, hemp, coco, wool or recycled textiles mattresses…

Nawapur is a foam made from 22% of ricin oil (vegetable oil), isocyanat, water and stabilisers. The industrial process does not use CFC. In 2006 it was the foam which used the highest quantity of renewable material, 22%. It is very elastic, soft to touch and air-permeable. Chemical and allergy free. Certificated OKO-TEX standard 100 class1. A partial natural open-cell foam, Nawapur includes vegetal oil instead of the usual polyols composing the polyurethane foams. Still in research, the goal of the company is to obtain the quantity of 50% of renewable raw material.

© 2011 / Nawapur /Supracor

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A derivative of aerospace research and industry, Supracor is a thermoplastic honeycomb that is anti-fungal, antibacterial and allergen free. With its flexible and stable structure, it is shape memory and shock absorbing. It is 100% renewable. It is usually used in hospitals for mattresses, pillows, wheelchairs, or even in jackets or saddles.

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A warm comfort.

Comfort has no measure, it could even be a thermo-regulator material for example, as a wall panel or a textile. If we refer to precedent articles as “Secondary skin”, the Outlast fabric seems to be an ideal comfort textile as it adapts to the body temperature. We could also look at “Insulately”, where we presented insulating materials. As in its substance, the comfort has a temperature proper to each of us.

© 2011 / Doscha
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Staying in soft and pleasant appearances, comes Doschawol, by Doscha. Certificated Cradle to Cradle, it is composed at 100% of keratin, pure wool. It is a good thermal and acoustic insulator, the keratin has also  benefits to reduce the detrimental gases and undesirable fragrances. Water resistant, it doesn’t allow any development of molds. Doschawol acts as a flame barrier and is protected against mites, it is non allergic and dermatologically friendly. This material is totally renewable. Used as a home insulator, it could be even used as an indoor surface, so soft, warm and comfortable as it is. Maybe we could add that even sustainable materials, are comfortable for the planet. Remember all the work of Joseph Beuys.

The comfort and its forms.

© 2011 / Ronan & Erwan Bouroullec

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Comfort is often communicated through a soft appearance, like a padded aspect. The Ploum sofa designed by the Bouroullec brothers for Ligne Roset, is composed of a flexible fabric that covers a polyurethane foam. It is one of the lat est examples of comfortable seats we dream to try. The comfort through the objects implies ergonomics questions… What about the comfort and its forms ?

© Richard William Wheater

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Take place and follow the rhythm!

As the glass birds of Richard William Wheater, we fly in the sky without knowing when we will fall down.
I want to make my time profitable. I don’t have enough time, it slips through my fingers. Caught and imprisoned by the spiral of the time, we try to swim the head out of it, to have an overview and to organize our life – surf on the time! We invite you this month to take the train, be on time.

Everything evolves, us included. Saying that, materials should be wrinkled! But what about a material that could get older and could change as we do, worn by the time. “Is this your new pet ? How old is he ?”  – “No it’s my floor, it’s ten months already!”.  Imagine a living house, and the image of the people who live inside, like in a Manga of Hayao Miyazaki! How to reflect a notion of time, a change in duration through materials ?

© Siren Elise Wilhelmsen

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- “What time is it ?
- Following my scarf, it is 3 pm already!”

Who could imagine a clock that materializes the time ? Not so far from the world of Benjamin Button, where the clock of the train station turns upside down, the 365 knitting clock imagined by Siren Elise Wilhelmsen, knits the long passing of time. This surprising invention, as poetic as practical, could be a dreaming housing robot for lazy house wives. Such an interesting proposition when we think that the time is in a way impalpable and usually represented by numbers. Siren Elise’s wish has been to represent the time in three dimensions and she succeeded. The 365 knitting clock knits a two meters scarf in one year using one yarn. One day representing one round around the clock (that is still counting, but how else could we locate ourselves in the time ?) Intuitively or intellectually, we need landmarks! Even if the time seems invisible, we all follow its rhythm, even if we are the living proof of its effects.

The wear of time…

© Sandrine Clavel

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Due to time and through use, the wear and tear on objects reflects our passages and presence as permanent prints. Otherwise said, wear rhymes with contact and often, repetition. There comes the high demand of the consumers, who want ultra resistant materials. Take the floor for example, it supports us, our weight, passages, dirt and dust. After years, we discover paths marked in carpets, as a map showing the road to follow. Should we speak about the flows ? The haunt of the maids and the happiness of the carpet shops. But what about a product which should be used and worn, to reflect its real face ? Finished is the time where we had to replace our parquet, welcome magic tiles! Sandrine Clavel is a young designer who worked in collaboration with craftmen of Jacques Brest Céramiques, on the elaboration of the Tomettes Millefeuilles, yarrow tiles. Composed of different coloured layers, these tiles, by being worn, let their under layers appear. A floor that changes appearance through function over time with wear.

The time enlightens…

© Rachel Wingfield

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Maybe by including a notion of interactivity or changeability in materials, we could accept them a bit longer. Should we incorporate plants in our wallpapers to create living patterns ? Digital Dawn is an electroluminescent printed window blind, whose lighting grows in reaction to the surrounding luminosity. Armed with receptors, it is digitally programmed to follow a photosynthesis process. This sounds like having a sensitive and alive light in our bedroom, in dialogue with its surrounding, magic! By proposing this product, Rachel Wingfield questions our senses and well being, by adapting a natural process to a virtual object. Now that we have time, we would love to try it!

A come back in time…

Kristine Bjaadal, well known for her tablecloth that reveals butterflies when people spill wine or juices, has made an unusual prototype for an upholstery fabric, Underskog. Following a similar principle to the tablecloth, the covering fabric reveals patterns, not by stains but by wear! The more we sit on it, the more we wear it, the more we can see the satin pattern hidden under the homogeneous hair velvet. To let a trace… This looks like discovering the real nature of the chair, its first identity, hidden by another layer. Accepting the mark of the time, the wear and the change through our objects and materials. Finished is the time where we had to re-upholster our old chairs, now use them until the straw to see if something unexpected will appear!

Designers and engineers cross their arms to bring us interactive and attractive materials, reflecting this notion of time passing. But enunciating time or change in materials, could be also speaking about natural and biodegradable materials, materials that evolve with the time. And what about the plastics that emit harmful gases ? As us, the space grows with the time and provokes changes. Unfortunately the world we build all around is a massive amount of inert materials that seems like being immortals.

We hope you enjoyed to fly in our company, it’s time to leave now, see you next month!

© 2010 Studio Glithero.

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Hard as stone, light as a feather, as brown white as paper.

All around, for years and years, paper follows us in our most secret diaries and our love letters. Although it is of Chinese origin, or even Egyptian, this messenger comes in a range of qualities, who’s textures leave our fingertips sensitive. Accumulated in books and on shelves, that it creates such wallpapers, it has been singled out as the principal culprit of deforestation. Thin, flat, fragile, it flies in the classrooms as planes or balls, which express the creativity of the youngest among us. Concentrate now, one, two, three… Rock, Paper, Scissors ?
Pleats please! Mache, creased, torn, cut, glued, … it happens that we cross paper sheets in the art world, in craft, furniture, fashion and architecture, far from the libraries, schools and offices. Shigeru Ban, Oki Sato, Issey Miyake, with their surprising creations, make us forget its basic utilities. Far from the white sheet, Jen Starck, with his scissors and colors, displaces our paper cliche to explosive sculptures. Welcome in the profoundness, in a place where the paper shows us its other face, fully textured and surprising. Time to turn the page…

© 2010 Nacho Carbonnel.

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Paper as furniture…

Sarah van Gameren and Tim Simpson, designers that worked in Transplant in 2009 and founders of the Studio Glithero in London, developed in 2009 a collection of paper based furniture. This range of cupboards and drawers is made with gum-paper strips that stand up from a bronze foot, based on a molded bamboo foot. Les French look like a colony of ethnic objects that could be ready to flee in the jungle at the slightest noise. The ambivalence between the aspect and the materials reverses the visual perception we have of it. The feet are in a resistant and heavy material, a strong base, while they look hand made and ephemeral and the cupboards are light while they don’t seem to be. Studio Glithero share with us their material point of view, mostly charming and surprising. We wait for the following…

Nacho Carbonell is a spanish designer based in Eindhoven, Netherlands. He questions the relationship between private and public situations and the saturation of information, by developing mutated paper mache chairs. He uses recycled paper coming from the excess of newspapers, that he sorts by colour. In addition to thinking about forms, Nacho experiments with materials by working on textures and visual tactility. He says that the aspect speaks about the identity, the personality and gives character to his pieces. Those cocoons, intimate places, look like they come from a primitive fairy tale, in ambivalence with their contemporary questions. An interesting proposition that seems to mix instinct and analysis.

In our era of  maximum globalization and industries, some designers come back to a more “human” and “respectful” relation between people, objects and environment. Hand made, craft and uniqueness, override on the impersonal manufactured objects, without speaking about the respect of Mother Nature, but the road is still long…

© 2011 Nordic Materials / UPM Profi and Papertexx samples.

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Paper as a fibre…

Textiles is a greedy sector that opens its arms to new materials. Papertexx is an Austrian company that develops technical textiles made out of paper yarn. It is acid and chlorine free, abrasion resistant, printable, machine washable and 100% renewable. Those textiles are destined to be used in furniture, the car industry, as decoration or even used as wallpaper. This material fits in a life cycle as it is renewable, it is an original solution of thinking the recycling of our office paper sheets. A touch dry when it is composed of 100% of paper yarn, it can be also woven with linen that brings it more flexibility and thickness.

Paper as a decking…

After the wood polymer composite and the hemp polymer composite, comes the paper polymer composite! UPM Profi deck and UPM Profi Facade are the new generations of UPM composite products, which are made out of waste off-cuts and trimming from self adhesive labels, which would usually be incinerated. The cellulose of the paper and the plastic polymer are transformed and mixed together to create this new decking and cladding solutions that are extremely resistant to the outside conditions. For its industry, UPM uses a water recycling system and doesn’t add any toxic biocides or pvc. This product is 100% recyclable. UPM is a company that concentrates its action on qualitative and environmental paper based products.

© 2010 Elise Gabriel.

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Paper as a juncture…

Elise Gabriel is a young French and fresh designer, based in Paris. She began her project; The Zelfo Embrace, in partnership with The Greenfactory a few years ago. We had the chance to assist with her Master presentation, then we discovered this designer of the matter. Her interest stemmed straight from the Zelfo material, she had a mission to do a whole range of experimentations to understand its nature, properties and to find a way of giving it form. As  if she was trying to tame a savage animal, Elise has spent one full year to search and to catch the best of a such interesting and promising material. “The Zelfo is a rebellious material hard to manage, I am constantly going back and forth between my intuition and its realities, my wishes and its demand.” Composed of 100% cellulose (recycled paper, hemp, wood or other…), Zelfo is a natural alternative to hard wood, plastic and metal. As light as cork, as dense as pvc, it has heat and sound insulation properties and has a good fire resistance (Bfs/s1). 100% renewable and biodegradable. Unfortunately this material is sensitive to humidity, and has a weakness that is still in research. In her project, Elise has developed two ways of using it: one, by creating furniture juncture; two, by using its translucent properties in lighting. Even if Zelfo is a “rebellious material” as she says, we are happy to share it with you, hope you will catch it!

… Here was the last piece of paper. End of the story.

Light acts on our well being. Even if some off us can’t see it, our body needs it. In this long and dark winter and to celebrate this new year, we are happy to enlighten you, with lighting materials.

© Olafur Eliasson

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Day and night, we are surrounded by light. At night, the sun is replaced by the moon and the night sky is scattered with stars. Those luminous patterns help us navigate in the darkness. Man made light fights follows us, flooding dark rooms, infiltrates curtains and creeps under doors. Windows illuminated, signifies peoples presence. In winter, the snow spreads its big white surface that glistens as it reflects the lights. In this landscape our reflective vests makes us visible to traffic. The light gives us visibility, colors, and warmth.

The water logo of Senseware, exhibited during the Tokyo fiber exhibition in 2007 and 2009, looks like a magic fabric sprinkled with light drops. As a decorative object, a security or a health tool, the light can fulfill several functions. Like Philips Living Colors and don’t forget your light therapy!

Light that reacts

© Diffus

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Diffus, a company based in Copenhagen, created  the Climate Dress, in collaboration with Swiss embroidery manufacturer Forster Rohner and the Alexandra Institute, a research center in Copenhagen focusing on IT. Equiped with a CO2 sensor, it reacts and illuminates itself in correlation to the amount of CO2 that surrounds the body. The embroidery has been elaborated with soft conductive thread and LED’s. An ideal fabric for firemen! Elisabeth Heimdal, a textile engineer and PhD student in the Technical University of Denmark collaborated with Diffus developing an illuminated textile, endowed with solar panels, detectors and LED’s. This textile illuminates itself in reaction to the light that is directed on it. Such a principle could be modified to be adapted and used in consumer products or in the public sector; in hospitals, transport, security and emergency services.

Nourished by the sun light during the day and enlightened at night, Lulu01 by Clémentine Chambon, co-founder of Design Percept, is a suspended piece composed of 204 naked photovoltaic panels each equipped with 3 LED’s. It illuminates itself in reaction to the darkness that surrounds it acting as an example of how to create an artificial light using the energy of natural light…

Research into lighting design and materials can be developed in several ways, but at the core is still energy and how we use it. Think of lighting as conductivity and power.

© Design Percept

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Lighting materials

Nanolight is an electroluminescent band that doesn’t exceed 1 mm of width supplied as a light and flexible sheet. It is a conductive and transparent sheet constructed of phosphor, polyester, aluminium, electrodes and a transformer. The phosphor produces an electroluminescent effect, reacting to electricity. It diffuses a monochromatic and uniform light that doesn’t emit any warmth. It can be used for many exterior applications, such as transport, hotels, restaurants, shops, walls, floors, packaging, in furniture, signage etc… In some products the phosphor can be printed opening up the possibilities of creation – electroluminescent patterns. This material is also renewable in parts.

© Saazs

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Following a similar principle, Saazs in collaboration with Saint Gobain Innovations, created Planilum. This light emitting material is composed of 4 glass layers printed in a phosphor ink and gas. When it’s plugged in, the gas is stimulated and excites the phosphor emitting light. It has a 50.000 hours life time, the equivalent of 20 years normal use. This lamp emits a white color that is not aggressive for the eyes and it’s temperature is close to the human body one. In partnership with designers, Saazs explores the capacities of such a material, developing it as an object as for walls, or even floors ?

Light fiber

© Loop

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As if they were looking for the philosophers stone, designers, architects, engineers and researchers all try to find a way to tame light, a substance that flaunts itself in a flash like pure electricity.

Glofab,  founded by Torbjorn Lundell in 2006, is a magical fabric laced with optic fibers whose outer layer has been previously damaged  to transmit light along their length. Damaging the outer layer of the fiber can be done in different ways, either machanically during the manufacturing of the textile or on the fiber itself using sand paper for example. This process plays on the limit of internal reflection, the curvature of the fiber defines how much light is let out. Not so far from it, Loop developed Sonumbra, an architectural textile that collects solar energy during the day and then gives it off at night. Weaved with electroluminescent fibers, this product allows us to play with textiles on the streets, a playground were light is needed.

© 2010 The Boy with a Magic Horn, by  Damir Ocko

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Winter time!

As if we had landed on an other planet, we discover the winter landscape and its infinite white surface, like a uniform skin covering and protecting the surroundings. Incredible and surreal, this landscape appeases us by its calm. The nature makes a break, time seems to have stopped and the sound, absorbed. This month, we are happy to share with you a piece of silence, materials that absorb the sound for the happiness of our ears.

Who hasn’t already experienced a echo room, where the sound repeats itself constantly? Would it be possible to be more quiet than quiet? To hide a simple movement, when its noise is a consequence of our presence and movements, takes so much space? Sound can become a source of disturbance, an invisible pollution.

Acoustic as a wall.

© 2010 Ronan and Erwan Bouroullec

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Designers propose objects that are able to mitigate the discomfort made by sound by absorbing it. And what objects! For example, the 3D felt wall tiles Soundwave, by Karim Rashid, or the fabric tile Clouds of the Bouroullec brothers that evolve on the walls and in space, or the inflatable offices produced by Inflate. Here it’s question of covering walls or dividing the space, but what about hiding the sound? As we discussed it in a previous article: “Lehanneur Point of view“, Mathieu Lehanneur created dB., a robot whose technology is based on white noise. It has the capacity to hide noises to give an impression of silence… Chhhh…………..

Acoustic as a fabric.

© 2010 Abinitio

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As designers and architects, the engineers and the manufacturers are on the forefront. Over and over, they search for new possibilities. Abinitio is a Swedish company created in 2007, by Ulla Eson Bodin, Folke Sandvik and Helga Aiff in the university of Borås. They produce a material called Cullus, a 3D textile composed of 100% polyester Trevira. Certificated C2C, it is recyclable, resistant to fading, creasing, mildew and decay. It is flame retardant and foremost sound absorbing! The amount of sound absorbed depends on the size of the surface. It can be used in restaurants, hotels, housing, meeting places, the maritime industry or public buildings. The fabric is available in different sizes, aspects and colors making it flexible, easily adaptable for different elements of a room. The qualities of its yarn and its knit make it an efficient material that we would recommend warmly!

Another company, Texaa, is a specialist in sound absorption. They propose a range of wall and ceiling textiles that have particular properties that enhance acoustic comfort. One of them, Vibrasto is composed of a PVC fabric called Aeria that is applied to a felt or a polyurethane foam. The Aeria textile is fireproof, waterproof, stain-proof and antistatic. It is also light, dust and tear resistant. This durable fabric makes  Vibrasto an effective acoustic solution. The nature of its components prevent the development of dust-mites and micro-organisms. Glued or stretched over walls or ceilings, it is resistant to shock and friction. The ideal material for high traffic commercial environments such as pools, theaters, auditoriums, restaurants, cinema, sound studios…

Sound absorbing textiles are good solutions, that thanks to their flexibility, can be easily adapted to any room. They don’t change the configuration of a place, unlike acoustic panels that are dedicated to change spaces, creating intimate cells.

Acoustic as in music.

© 2010 Snøhetta

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The inside of the Oslo Opera iceberg is happily not as noisy as the debates about it’s exterior in the media, and for good reason; it’s the home of The Norwegian National Opera and Ballet and had to be a work of art in the acoustic domain. Not yet as famous for it’s acoustic quality as the Walt Disney Concert Hall in Los Angeles with its massive Douglas fir panels, the Oslo Opera, designed by Snøhetta in collaboration with different artists, is a meeting place between marble, aluminum, glass and oak. Based on a minimum of materials and surface treatments, its is part of the Eco-culture project which focuses on energy efficiency in cultural buildings. Its ceiling is covered by a stretch perforated PVC from Barrisol, highly efficient in acoustic comfort – it transforms the acoustic energy in thermal energy and it is totally fireproof.

As we have seen through our research, innovation in the acoustic material world has gone from a whisper to a scream!

© 2010/Gabi Schillig

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Gabi Schillig, a German architect and artist from Berlin, was lately a resident at the Nordic Artists’ Centre Dalsåsen, for three months.  She opened her studio doors for us, before installing her end-of-residency exhibition. Thus we discovered her story, point of view and latest project, “Propositions for the Landscape”. Besides working on her  conceptual projects Gabi writes and is working on her PhD and teaching as a lecturer at the Institute for Transmedia Design at the University of Arts in Berlin.

On the boundary between art and architecture, Gabi Schillig proposes another way of thinking about architectural space, than to solely designing it by using the computer. “After having studied Conceptual Design in Frankfurt, where we were using mainly computational designing techniques I wanted to know more about materials and the materiality of space. Today, many architecture schools focus solely on the computer as a tool for architectural production, but I think that there are many reductive processes going on, for instance the loss of the human body in the design process and the materiality of space. What about social space, an interaction with human beings and the space that surrounds you everyday?” Since four years, Gabi is developing projects by using conceptual material strategies. She is interested in the relation between people and space, by elaborating textile structures being performed by a variety of people. As she explains, they are “interfaces that are able to mediate between the body and its surrounding.” But more than bodies, it’s a question about people who are participating in the project. What I have done here in Norway couldn’t be the same somewhere else, because of the people I met, who participated in the project and who made it happen in the end.”

© 2010/Gabi Schillig

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“Intrumentalizing textile techniques is one of many strategies of thinking about spatial relations.” She gives form to textiles by creating joints, openings, surfaces and volumes. Their construction can be seen close to an architectural construction and allows them to be qualified, in a sense, as elastic architectural spaces. Their form adapts to the body, its movement and its surrounding thanks to their material characteristics and geometry. Their form influences people to explore, to move, to find different positions, and therefore, to create space themselves. At the frontier between cloth and architecture, they call for sensations by being used by people who are then able to certain desires and therefore giving meaning to the structures.

“I’m using form as a spatial vehicle for imagination. In the end it is not about the beauty of the form,  not about the perfectness – the true beauty lies in each individual action. The structures I am interested in are open to an appropriation – every person is able to give meaning.”
 Gabi Schillig is developing different ways of expression by using different media to speak about ideas. “I made those three dimensional plexi glass drawings, communicating a certain aspect about space.” Sketches, wood and textile models, layered plexiglass drawings, can be explored in her studio. “There is always a certain starting point, but the exciting thing is that I don’t know where the process is going to lead me.”

© 2010/Gabi Schillig

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“Here in Norway I thought about working with the landscape because it’s so present and surrounds us everywhere.” “Proposition for the Landscape” resulted in four knitted structures that based on a certain design logic. Gabi’s focus while being in Norway was knitting, through which she was exploring the form of the square and the spatial principle of layering, both being a principle of structuring space : “Everything that you see here is based on a square, not only the knitted structures but also those wooden, foldable models, that say something about layering. The knitting is considered as a basic female domestic activity, but can become very complex – it´s pure construction. You have to understand how to put things together. It is a constructive process, it is very much based on the technique.

© 2010/Gabi Schillig

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“I have been working on the development of open systems based on the square that can enable many different conditions of space to happen. It´s more about creating situations, than being in love with one form which is beautiful, but nothing else. It is about elasticity, openness and transformability. In the end, people might even forget that the starting point was the square.” Thus, Gabi Schillig is the provider of a spatial instrument that somebody takes over. Her productions have to be used by people and not exhibited as pieces of art. She proposes performative objects. In this sense, it questions what is art and what is a piece of architecture.”The work as such is never finished. While people are operating with textile interfaces, sometimes you can see that they become a little afraid to behave strange and in an unconvetional way. Afraid to play and to explore. Often  it turns out that the most simplest things are most potent. A structure doesn’t have to be complicated, the complexity emerges from its use.  This is one of the reasons why Gabi keeps a certain simplicity in the forms she makes. “The more complicated the structure is from the beginning, the more you have to think in a rational way, trying understand – and you loose the playfullness.”

© 2010/Gabi Schillig

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“An architect is someone who’s constructing space, on a small scale and also on a big scale. I am more interested in small scales, and still I’m constructing and therefore organizing space.” Gabi transmits her point of view to her students urging them to develop their own methodologies. She thinks about architecture on many different levels – about architecture which is developed in a different way than building static buildings. To create objects for public urban situations and the landscape which can change our perception of spaces.

© 2010 Nordic Materials / Material Spot detail.

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Nordic Materials have been transmitting knowledge within material & process technologies since 2005. We have traveled a decent amount of time within the Nordic countries speaking with institutions who wish to transmit this knowledge to industries and creative professions. Answering the desire for an easy, flexible and cheap solution to communicate new material technology we have designed the Material Spot.

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The Material Spot is a light theme exhibition that is carefully curated and supplemented with expert knowledge. Each Material Spot displays a Material Selection, (see picture bellow) specifically researched in relation to a selected theme. The Material Spot(s) are available to rent along with the option of booking a material expert to delve deeper into the theme through a presentation (optional: Material Morning, Afternoon).
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© 2010 Nordic Materials/ Material Selection “Flooring”.

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The Material Spot simply delivered on a simple europal, includes all tools to create a material event :
> a rented Material Selection (not included), as 15 specifically selected physical material samples.
> the official Material Spot as a 2 meters diameter circular base.
> all communication tools such as information labels and pdf describing the content.
> easily mounted & removed within one hour by one person.
> transportable in a regular car trunk if needed.
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© 2010 Nordic Materials / Material Spot close up..
© 2010 Nordic Materials / Material Spot axonometry.
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Rent your tailored Material Spot

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© 2010 Transplant / Mathieu Lehanneur.

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Our mission at Nordic Materials is to collect knowledge about material technologies and processes that have the potential to evolve your design and production sustainably, formally and functionally. In our materials updates, like this one, you can read our point of view about a special theme. This time, we bring you the interesting point of view of Mathieu Lehanneur, french designer, who came to visit us in Transplant this summer.

Like a shock absorber, his work dresses the daily wounds we have in our interiors. Welcome in the 4th dimension, where the objects live like robots, using their superpowers to improve our life.

© Mathieu Lehanneur

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Impregnated by his first vocation, medicine, Mathieu Lehanneur took design close to the body, primarily with drugs. Even if a drug is bearer of healing, it has also undesirable effects,  by improving the relationship people have with drugs, he aims to make them more pleasant. This studies project, still alive, is waiting patiently in the Moma, New York, to find a place in the pharmaceutical industry.

What would humans need inside their house, more than the ergonomics? Let’s not forget that our five senses and our immune system make the link with our exterior, and not only the touch through direct contact. Everything which is in contact with us or around us has an effect and affects us. We have needs in heat, light, silence, oxygen and immunity. Study those elements and try to complement them, by emission, absorption or transformation could lead to a perfect balance. Mathieu Lehanneur brings an impalpable comfort, which acts like micro-anaesthesias on several levels of our perception.

Imagining that the indoor is more polluted than the outdoor seems like a misunderstanding. Thinking that our hiding place, our cocoon, our home, is the best shelter we have, is simply a dream. Interior pollution comes from design and designers. Crazy but true, the plastics which compose our furniture liberate harmful gasses. The materials composed of polymers, glass fibers and insulating materials, expire and emit volatile components which take place in our body and poison it. NASA, following the return of its astronauts from the space, found them totally intoxicated by the emissions of the material components comprising the interior of the shuttle.

© Mathieu Lehanneur

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Gardener at heart, Mathieu Lehanneur designed a solution using plants. He takes nature in its raw state for its functional aspects. As with O, the Element transmitter of oxygen containing a green alga solution, he gave birth to Bel-Air (beautiful air). A cleansing filter is associated with a depolluting plant (Clorophytum, Philodendron, Gerbera, Spatiphyllum, or Pothos) and a high tech ventilator. This prototype, was produced in pyrex (infinitely solderable) and aluminum, two materials which emit no gasses. Andrea, the produced product version stimulated our interest because of its components, polycarbonate and ABS plastics; unexpected materials for a cleansing filter. The designer explained us this choice, which goes against the concept of this object:
“The use of aluminium and pyrex would have multiplied the production price the weight and transport cost by 10. The extra weight would have largely increased the carbon footprint of the product. The plastics in comparison, is lighter and on this point of view, are more attentive to the environment. The polycarbonate component used for Andrea was initially destined to produce baby-bottles, but as it was declared toxic for food contact, the stock was in pending, waiting to be incinerated”, explains Mathieu Lehanneur.

In a sense, the use of a harmful plastic for the creation of his filter, was more respectful of the nature than the use of the ideal and obvious green material. As Andrea absorbs its own pollution, his choice doesn’t disturb the function and the utility of the product, but seeks to find it’s sustainable balance. Later, like with drugs (savers and poisonous), we’ll discover the effects of Andrea.

© Mathieu Lehanneur

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We declare our love to Mother Nature, by fear of destroying our cradle, to upset the cycles of the planet or by simple awareness. We remove our pink tinted glasses and discover the world, a little dull. Let’s paint it in green with a branch in the place of a brush, just for fun. We eat green, we wear green, we sit green… and we even speak green. Sustainability, eco-friendly, we use so many words which sounds like a new way to think, is it a religion or a new trend? This way to communicate seems to be the new language of both manufacturers and designers, sprinkled on by marketeers and the media to be served on wood plates, like our buried past. Today we wish to change, but do we take the good turn ? According to Mathieu, there is a desire of simplification of a such complex problem that the designers try to resume only at the surface of the objects:

“Of course, the choice of materials has to be done in an overview of its cycle of production, of use, of life and death. Questions of energy (extraction, manufacture, transformation, recycling, transport, …), water, chemicals, quality (recycled plastics, do they perform as well a the others?), price (unfortunately), …. Yes the products have to be made with the most respect to the environment as possible. Designers follow the flow, by belief or trendy mood and give to their clients those wooden plates, but this won’t save the world. Let’s just hope it will improve a small part of it. The problem today, is when a client wants it to be seen, to develop a sustainable image because it’s “commercially correct”. Mathieu concludes:  “I am alert to never adding a varnish, a blush of sustainability for it to look eco-friendly”.

To be or to look green, that’s a question!

©2010 Théo Mercier
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Another chapter in the materials story.

There’s such a big family of composites, and with an array of applications. They are present both in our bodies and in space, they have invaded the entire world. Like in Gattaca where the doctors preselected the genes to create perfect men, we mix materials to obtain a wholesomeness of qualities hard to match without combining. Due to environmental concerns, makers have to change the way they produce, and turn in the direction of green production.

This month we present healthy sandwiches full of natural fibres, a new alternative for green teeth, instead of the bloody smile given by the glass fibres. Manufacturers of composites, in search of “authentic” components, reach out to scientists for help, who empty their pockets full of seeds. They put on blue overalls over their white smocks and sink their latex gloves into the soil, to plant a new variety of materials, the bio-composites. These new products spring into life and begin to grow like mushrooms in the rain. They emerge, giving colors and perfume to our previously less green composite garden. It is time to harvest now, take your scissors. Ready, steady, cut!•

Francisco Gallo Mejia, a Columbian architect-researcher, is working on BambHaus, a project of low-cost eco-responsible houses in Colombia, built with a bamboo composite. He based his research on an engineered bamboo, 100% natural and renewable, made from fibres of the Guadua Bamboo.

The bamboo is a resistant material that nourishes the soil. It doesn’t need water other than the rain, and requires no pesticides. As it grows quickly (around 21 cm per day), it also absorbs and stores CO2. Bamboo is a traditional and common building material in tropical areas. Fabrication of this composite requires little energy and small machinery. It will be manufactured locally, directly in the villages, near the plantations. This proposition sounds like a great idea on several points, as it will also act as a stimulant for bamboo reforestation, and will create new jobs. The houses will be equipped with a water recycling system and LEDs.

© 2010 Agrochanvre

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Like the bamboo, the hemp and the flax stock CO2 and do not need any pesticides or other water than the rain, to grow. Through the manufacturing process the entire plant is used.

Lineo, an old Belgian company, specialises in flax fibres production. And today, whoever says flax, says flax composite. With their mechanical properties close to glass and carbon fibre, and lighter than those two, flax fibres absorb vibrations and are good as acoustic and heat insulators. Lineo proposes a new generation of prepreg made up of 50% of flax fibres with an epoxy resin. Applications for such a product are large: sport, packaging, transport, design, marine. This kind of composite has a lower cost than carbon fibres. The next step would be to find a new alternative for the epoxy resin.

Hemp is able to grow fast in a minimum amount of time (5 to 6 months to reach its adult size), it kills weeds and feeds naturally from the ground. Used during previous centuries for clothing and linen, hemp disappeared from the surface of the textile mills, to hide in the darkness of the streets. Its comeback to production sounds like a redeeming effort.

Agrochanvre produces hemp composite materials. Originally specialised in wood polymer composites, this French company decided to switch to the other side, to the natural fibres. Decking, mulching, cinderblock; they specialise their production mostly to housing materials. The hemp decking is composed of 55% hemp and 45% pvc. It is durable, rot resistant, anti-slip, easy to clean, and renewable. A good alternative to polymer wood composites or tropical wood. During the manufacturing process the whole plant is used, preventing waste.
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© 2010 Hemcrete / Making of.
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Hemcrete is a hemp concrete for housing. Produced by Limetechnology in England, this material is the result of a special lime binder with cement and a hemp aggregate made from the stem of the hemp plant. The treatment is mechanic and uses little energy. It needs an addition of water and can be sprayed or cast around a timber or steel frame and relies on the frame. It can take any shape. Hemcrete is also available in blocks. This material is robust, fire resistant, breathable, insulating, it has high thermal and acoustic properties, and it absorbs CO2 . It can be used as roofs or walls.

© 2010 François Azambourg

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This year, during the fairs Maison et Objet and Jec Composites in Paris, French designer Francois Azambourg presented the Linen Matrix. By chance, we were there and had the opportunity to visit this giant hut, full of linen hairs, which could not help but remind us of Cousin It from the Adams family. The aim of such an installation was to promote the use of flax and hemp fibres in textile and composite industries. For this occasion the designer presented his last collection of chairs and table, LIN 94, composed of 94 % linen (fibres and resin) and epoxy. Those products were made in collaboration with Design Composites Solutions, a company specialising in carbon composite industry.

© the Sustainable Dance Floor.

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Here we are, in the summertime! We exchange our leather sandals for rubber boots and walk in puddles instead of sand. Unlike Gene Kelly in Singin’ in the Rain, we take small steps. The analogy of the cartoon banana skin is not so far, the slightest inattention can provoke a fatal fall. Happily, the floor companies do their best with anti-slip to avoid us braking our legs, to the dismay of plaster manufacturers!

A ground which supports our weight and movements, a magnet which attracts us due to the effect of gravity, a landscape which horizon is limited by the walls and objects, the floor is this expanse, membrane interior of architecture, on which we can walk, run, jump, dance, sit and  sleep on.

© Vincent Lamouroux.
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Outside to inside. A landscape, full of waves and bumps extends in front of us. Sol.07 from Vincent Lamouroux is an art project which creates a kind of imbalance. It changes the usual perception we have of a floor, not only flat, it undulates. Is it time to give life to objects ? A massive piece which can’t live without any contact with the public. Its relief encourages the spectators to sit, to lie or to move on it. This proposal questions the relation we have with our environment, the influence of the forms on our behavior. Essentially made of wood, this piece takes its proportion in function of the space it is installed. A new way to imagine our interior flooring, a dream parquet for a skater’s home.

Dressing the interior architecture like we dress our body, in a research of effectiveness in response to needs of resistance, slip, hygienic, sound, comfort, heat flux, allergy, ecology, without forgetting the look.

A perfect vinyl combination, not only sexy, but primarily green and trendy, is the Botanic Collection. Bolon or “the green fingers in the vinyl field”,  gave birth recently to the first flexible floor covering based on 80% renewable raw material composed of modified vegetable oils. This material is wear resistant, fire resistant, slip resistant and sound absorbing.  The wish of the company in the close future, could be to make a totally environmentally adapted and climate neutral product. Bolon has adopted the voluntary measures of the VINYL 2010 program and tries to minimize the impact on the environment by reducing the use of energy in its factory.

© Nordic Materials / Korkmozaik..

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Another product for wet environments like saunas or bathrooms, is the Korkmosaik, a floor mosaic composed of post-industrial wine cork material. The cork like we know it, has natural properties, anti-static, anti-microbial, sound absorbing and slip resistant. Additionally it is comfortable, durable, suitable in wet and water prone areas. Friedbert Bleile, the founder, is firm concerning the quality, the human and the environmental respect in the production. The Korkmosaik is a unique material, essentially hand made by handicapped people, it is based in Germany. Their wishes are based on a positive way to act, a future as nice as possible, without a sustainable trendy attitude. They advocate a kind of truth, a certain purity.

The Pergo Sense, from Pergo, is a laminate flooring particularly good at sound reduction, vibration and energy absorbing patented the technologies Soft _Tech, SoundBloc and Expance. Also anti-microbial, static, fire, scratch and wear resistant. It is composed of HDF from sawmill residue, recycled polyurethane foam and recycled cellulose fibres. It is a very efficient product improved protection to high traffic and extraordinary durability thanks to the Titan X coating. A product made with 80% of waste from pine and spruce. Pergo proposes an interesting material, both ecologic and effective, warranty for a very long time. A kind of flooring dreamed in buildings and apartments especially.

The floor is the element in a house, in a room, in an interior with which we are probably the most in contact with. Even if we don’t think about it, this horizontal and flat surface condition our wellness, it contributes to our comfort. If the floor could be an actor in the energy/sustainability scene, how could it look like ? Why not imagine the floor like a power reserve ?.

© Sustainable Dance Floor.
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This is the challenge of Sustainable Dance Club, an energy generating dance floor powered by the movements of the dancers. Like the new mobile hulls which charge the batteries with the movements of the body, this floor captures the kinetic energy emitted during passages and movements of clubbers, to transcribe it into electricity. A product which encourages people to have fun and  to care of the planet in the same time. “We are planning to change the world by clubbing” says Michel Smit, the project leader of the company. A different use to clubbing was also developed in the city of Toulouse, in France. “Pavement power”, tiles prototypes, were installed in a street to power the streetlamps. What more efficient than using the electricity produced by street passers to illuminate it? This principle is in line to revolutionize the production of electricity and we are impatient to try it!

© “Sunshine”, directed by Danny Boyle / Fox Searchlight 2008.
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If we could catch the energy emitted by the sun during one hour, we could supply all of humanity needs for one year. So the postulate is simple: we need to shift all our fossil energy needs to renewable ones. Governments and dedicated people know this fact since decades. But now you know it too. As reminder, we invite you to share some inputs…
Solar? The best. The whole planet is operating this shift, as for example milliards invested into the wind fields all over the world. But if we follow the biomimicry principles, before biomass, the sun is still the best ever source of energy, used by millions of generation of natural organisms before human beings. We, as a gender, begin to get it and learn that the best solution is often the simpler: we wanted to make your life easier and make you an update on the solar technologies actually out there. From our side, the future is soon here as the Professor of MIT Dan Nocera not only discovered how to make energy from water and solar energy, but he is saying it will be on ebay next year for the price of a good pair of shoes. Now you could make your choice. We did. Help yourself, and be careful: hot matter. May be the millennium scoop indeed.

Solar soft > Solar Next

Solar glass > Peer +

Solar film > Powerfilm

Solar & Water catalyse > Sun Catalytix

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© Professor Dan Nocera / 2009.

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© Hulk / Marvel Comics.

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Working permanently on innovative materials, we have to admit that “some” of our babies are not really junior, they are not all really fashionable; they are sometimes not even really new (ref. Aerogel in the last Material Update “Insulately“, invented over 75 years ago). But they are something that is just and simply close to perfect: they work ! and even better: they are meta-working.

Stronger. Better. Harder. Faster. Easier. Healthier. They are our “Super Green” Materials.
One advice: do not under-estimate them: you might regret it.

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Concrete Canvas

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Nordic Materials Feedback

Concrete Canvas seems to be a perfect solution facing the need to deploy temporary architecture, after earthquakes for example. From our side, we just perceive the simplicity, evidence of using it, as it spares energy as the deployment/mounting phase (1 hour) compared to the durability (10 years) is more than correct. Sometimes, the answer is simple and good enough. Concrete Canvas got its strength from the requirements of a very hostile environment  (as defense, natural disaster, etc…); it would be positive to “re”-humanize a bit its components so it is visually including the friendly details as windows and privacy internally. But super strength needs time to get tamed. And cool down…

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Fermacell

© Xella / Fermacell put in several very informal crash tests…
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FERMACELL has a very simple homogenous composition: 80% recycled gypsum and 20% cellulose fibres derived from recycled papers, mixed with water. In other words, it’s a 100% recycled material. There are no additives or preservatives used whatsoever. The entire process is also fully recycling, which means that all by-products are fed back into the production cycle.

In terms of sustainability matters, this product’s manufacturing technique seems to be unique.

Both Fermacell and its process have been awarded the coveted Rosenheim Institute of Construction Biology and Ecology Certificate and the Low Emissions Product Eco Certificate. This material has also been defined as a ‘Heathy Living’ Building Material for allergy-free environments.Its commitment to sustainability focuses on a ‘whole lifecycle’ approach to environmental management (BBA certificate No 90/2439, DN EN ISO: 14001, recycled content to ISO 14021: newspaper and gypsum recovered from desulphurisation plants-100%)

Nordic Materials Feedback

Seriously, expect a little bit harder “skin” at the cutting phase (it can not be stronger without being harder to cut…we know it, Transplant built all its wet rooms with Fermacell), it is a plug and play product compared to regular plaster panels. To simplify the all thing:
- really stronger to impact, no need anymore to double it with ply wood.
- environment with humidity until 80%: resistant! So bathroom, swimming pools are more than welcome.
- fire resistance M1. no need to go further, it is fire classified with the highest rates.
- it has good sound performance. three time more effective compared to another block wall as example.
- a high load bearing and can carry upto up to 50kg from a wall plug fitting.
- it eliminates the need of plaster for finish surfacing.

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© MA Arkitekter

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How to Dress Buildings Up

Textiles can be used as building skins, adding new aesthetic and functional qualities to architecture. Just like we as humans can put on a coat, buildings can also get dressed. Depending on our mood, or on the weather, we can change coat, and so can the building. But the idea of using textiles to create human habitation is not new. As Diether S. Hope phrases it, referring to tents: The history of development of humanity would be barely conceivable without free spanning textile membrane structures.

Architecture is one of the many areas of applications for technical textiles; the latter in fact offer the necessary weather resistance and fireproof properties for building applications.

Flexibility is what differentiates textiles from most other (stiff) materials. Textiles can in fact hang, but they cannot support themselves. They can however adapt to their environment, this adaptation being allowed by their thinness, lightness, production technique and material. This adaptability explains the versatility of applications in which textiles are used.

Thanks to their transparency or translucence, textiles can act as filters permitting us to see without being seen. Furthermore, textiles have shorter lifetimes than e.g. concrete, but this can be turned into an advantage, as it can allow a building to change appearance over time, depending on the needs of its users.

© Naturtex

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A good example of translucency is Batyline Canatex, a woven fabric made of polyester fibres (core) with a composite sheath partly made of hemp thread grown using sustainable farming techniques. Even though it is made of two different materials, Batyline Canatex is entirely recyclable thanks to the manufacturer’s Texyloop® process. The product is flexible, light, quick-drying, anti-fungal, UV-resistant, fire-resistant and comes in a wide range of colours. Mechanical tests and tests for abrasion and low and high temperatures have proven the product’s sturdiness. Thanks to the listed characteristics, Batyline Canatex is a textile alternative that opens for many applications such as indoor and outdoor furniture, architecture and other high requirement applications.

Another suitable textile for architectural applications is Naturtex’ woven metal textiles (A1518), which produce very special reflections and light effects. The metal textiles are weather resistant and can be used for long lasting and durable decorative features. Naturtex woven metal fabric is part of the C(h)ameleon exhibition, displayed at Transplant from the 18th of March.

Yet a manufacturer proposing textiles suitable for outdoor architectural use is Quantum Textiles. The fabrics can be engineered and customized to fit specific applications, and are available in many different fibres, yarns and weaving techniques. The fabrics are flame retardant, UV-resistant and anti-microbial.

© Walter Unterrainer

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Today, using textiles for permanent building facades is a relatively unexplored area, and more experimentation and exploration is therefore necessary. Some projects have however been realized, such as Walter Unterrainer’s passive dwelling house in Austria, covered in pieces of black fabric joined together by a button-like system.

This Material Update has been designed and co-written by Elisabeth Jacobsen Heimdal / PhD Candidate working on how textiles can be used in new ways in buildings, at the Technical University of Denmark, and Nordic Materials.

© Torbjørn Anderssen / photo: the Danish and the Nordic Pavilions

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Since the beginning of 2010 the Nordic Materials innovative material library has an increasing number of creative professionals as members and the Nordic network is expanding.

We are proud to welcome the Danish Development Center for Furniture and Wood (UMT) to become Nordic Materials Agent and member of the network. From April UMT is assisting industries and creative professionals to make their choice in terms of materials and processes, using the Nordic Materials knowledges. UMT Denmark / +45 9616 6200

From Norway, new materials addicts joined the network through “Material Access“: Torbjørn Anderssen and his studio Anderssen-Voll (ex Norways Says) became member in March 2010; joined by the awarded industrial design studios Inventas and Kadabra, followed by Nordplan, architect studio. The leading Nordic office furniture producer Scandinavian Business Seating (Håg/RH/RBM) became member of the Nordic Materials database as well and Pernille Jensen Stolze, textile designer R&D at SBS joined our last “C(h)ameleon Afternoon” a dedicated time to talk, learn, exchange and upgrade our know-how within material field: “I had a very nice time and it really worth the trip”.

To know everything about Nordic Materials services, click here.

© 2010 Owens Corning
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Norway is beautiful, and cold, and beautiful, and cold.
But beautiful.

But cold.

We searched our resources to identify innovative solutions and decently environmental on insulating materials. As we know you are busy, the nominated material & process for “Best Insulation 2010” are…
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AttiCat™

“Loosefill insulation from Owens Corning, also called “blown-in” insulation, is made of virgin PINK fiber glass insulation. It is used in new construction and in existing homes, typically applied in hard-to-reach areas. Since fiber glass insulation is non-combustible and non-corrosive by nature, PINK fiber glass loosefill insulation offers significant advantages over other loosefill insulation products and will not settle or lose its energy-saving abilities over time, does not require the addition of fire-retardant chemicals that can promote corrosion of pipes or wires, will not rot or decay, support fungus or mold growth or provide sustenance for insects or vermin.”

At Nordic Materials, we appreciate this values, and the large application of the product range, from B to B extended to B to C with a nice experience, which is not really expected when you invest in the hard task to insulate your house for example.

AttiCat™ is C2C certified/Silver. And pink. and we love pink.

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EcoRock™

“EcoRock uses 80% less energy to produce than gypsum drywall. EcoRock is made of 80% recycled materials. EcoRock is made using 80% post-industrial recycled waste, including waste from steel and cement plants—with no gypsum. EcoRock is designed to be fully reutilized at end of life. EcoRock can be used as a pH additive for soils and can be returned to the production of EcoRock and other building materials as a valuable raw material. Unlike gypsum, EcoRock may be safely disposed of in landfills if necessary. No harsh anti-fungal chemicals are used on its surface or within its core. EcoRock generates 60% less dust, and presents no negative effects of airborne mercury often generated during wallboard production using FGD (recycled) gypsum from coal plants.”

We barely find anything to add. Do you?

EcoRock™ is C2C certified/Gold. Period.

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Nanogel™

“Nanogel is Cabot Corporation’s trade name for its family of silica aerogels. Although aerogel was first invented 75 years ago, Cabot has been producing Nanogel aerogel since 2003 at its state-of-the-art plant in Frankfurt, Germany. Nanogel is an ideal solution for daylighting systems, allowing significant thermal insulation, weatherability and acoustic improvements without sacrificing, and even improving, daylight and aesthetics. Nanogel’s unique properties like hydrophobicity and ultra low thermal conductivity virtually eliminate the notion of the ‘weak link’ of a building’s fenestration. In fact, it enables adherence and even surpassing of the most stringent energy and building codes.”

Looking for a unique, lightweight insulation solution? One that repels water, retains properties under compression? and guess what, translucide?.. yes. I am not kidding, translucide and indeed very nicely. It is sound insulating, doesn’t have any weight (95% of air), and is up to 4 times more insulating than an equivalent thickness of regular insulation material.

The potential worldwide market for low-cost aerogels is projected to be $10 billion a year by 2010.

Aspen Systems developped for NASA an equivalent aerogel, C2C certified Silver.
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and the winner for “Best Insulation 2010″ is
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© Home movie: making off, Luc Besson, Francois-Henri Pinault, Yann Arthus Bertrand

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Transplant is projecting publicly the unique and essential movie of Yann Arthus Bertrand “HOME”. You are all invited to share this non only beautiful check point on our planet but to awake conscience. Family are invited and expected. The movie is in english.

FREE projection: 20.00 to 21.33 / 06.03.2010 / Transplant

Then you are very welcome for a dialog around a drink about the movie.

“We are living in exceptional times. Scientists tell us that we have 10 years to change the way we live, avert the depletion of natural resources and the catastrophic evolution of the Earth’s climate. The stakes are high for us and our children. Everyone should take part in the effort, and HOME has been conceived to take a message of mobilization out to every human being. For this purpose, HOME needs to be free. A patron, the PPR Group, made this possible. EuropaCorp, the distributor, also pledged not to make any profit because Home is a non-profit film.

HOME has been made for you : share it! And act for the planet.”

Yann Arthus-Bertrand

© 2009 / EDAG Light Car / electrical car following Cradle to Cradle principles.

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Could innovation be to make new things with old? Well, I don’t believe human beings are intrinsically able to be part of a fondamental creation process. Understand me well: we are creative but not capable of generating from nothing a tangible matter. Could we create water, the concept of heat, or the magnificence of tree? We agree: we can not. Shall we? the question is not even there. Humanity is part of an ecosystem, and as all systems, follow rules and is efficient as long as it is balanced, and well tuned. Nordic Materials is constantly getting upgraded by knowledge from the nordic regions and beyond. Hopenhagen sounds far away: our danish network is definitively closer. Nordic Materials is part of CradlePeople in Denmark. What happens after the time life of the product, where does things goes and what are the consequences?

Cradle to Cradle Design , alias C2C, is a biomimetic approach to the design of systems. It models human industry on nature’s processes in which materials are viewed as nutrients circulating in healthy, safe metabolisms. It suggests that industry must protect and enrich ecosystems and nature’s biological metabolism while also maintaining safe, productive technical metabolism for the high-quality use and circulation of organic and synthetic materials. The model in its broadest sense is not limited to industrial design and manufacturing; it can be applied to many different aspects of human civilization such as urban environments, buildings, economics and social systems.

The certification criteria in C2C certification process are:

Material Health, which involves identifying the chemical composition of the materials that make up the product. Particularly hazardous materials (e.g. heavy metals, pigments, halogen compounds etc.) have to be reported whatever the concentration, and other materials reported where they exceed 100 ppm. For wood, the forest source is required. The risk for each material is assessed against criteria and eventually ranked on a scale with green being materials of low risk, yellow being those with moderate risk but are acceptable to continue to use, and red for materials that have high risk and need to be phased out. Grey for materials with incomplete data. Material Reutilization which is about recovery and recycling at the end of product life. Energy required for production, which for the highest level of certification > 50% on solar for all parts and subassemblies. Water, particularly usage and discharge quality. Social responsibility which refers to fair labour practices. The certification is available at several levels: basic, silver, gold, platinum, with more stringent requirements at each.

C2C is a holistic economic, industrial and social framework that seeks to create systems that are not just efficient but essentially waste free.

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© 2008 Nike Considered corporate website

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One effective example is a shoe that is designed and mass produced using the C2C model. The sole might be made of “technical nutrients” while the upper parts might be made of “biological nutrients.” The shoe is mass produced at a manufacturing plant that utilizes its waste material by putting it back into the cycle; an example of this is using off-cuts from the rubber soles to make more soles instead of merely disposing of them (this is dependent on the technical materials not losing their quality as they are reused). Once the shoes have been manufactured, they are distributed to retail outlets where the customer buys the shoe at a fraction of the price they would normally pay for a shoe of comparable aspects; the customer is only paying for the use of the materials in the shoe for the period of time that they will be using the shoe. When they outgrow the shoe or it is damaged, they return it to the manufacturer. When the manufacturer separates the sole from the upper parts (separating the technical and biological nutrients), the biological nutrients are returned to the natural environment while the technical nutrients are used to create the sole of another shoe. As decent case study, the Nike Considered shoe (picture above) which fellows the C2C and is certified. This giant corporate company is implanting visible processes to achieve the missing link, as Re Use initiative. You could check all details about C2C interactions here.

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© 2009 / Climatex / C2C certified

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Climatex upholstery fabrics fulfill the highest expectations with regard to well-being, beauty, safety, and longevity. They are the result of intelligent product design and formidably suited for residential, contract, and passenger transport applications. Climatex upholstery fabrics comply with the principles of eco-effectiveness and are biologically regenerative. The selection of materials and dyes is the result of a scientifically evaluated “whitelist” of ecologically safe substances. The materials contained in Climatex fabrics are defined in consultation with the Environmental Protection Encouragement Agency (EPEA). McDonough Braungart Design Chemistry (MBDC) assesses the continuity of processes and issues the certificates. Climatex enables all manufacturers to optimize their performance in terms of eco-effectiveness. Climatex is a certified Cradle to Cradle product and can therefore be integrated in new durables as a component that is guaranteed to be biologically regenerative. The use of Climatex fabrics in other eco-effective products establishes the beginning of a new and larger cycle. The Cradle to Cradle principle positions sustainability as a success factor.

Climatex stands for holistic thinking. Everything as sociated with Climatex honors the Cradle to Cradle philosophy: from raw materials, packaging, processing, and use, ultimately through to repatriation into natural cycles. And Climatex guarantees transparency and full traceability. From the very outset, Climatex products are designed according to the principle that they will be returned to natural cycles as biological nutrients at the end of their service life. This represents an analogy to natural evolution. Everything developed, produced, and ultimately discarded by nature is returned, without loss, as an underlying substance for new and different organisms.

© 2010, The Year we make contact / Stanley Kubrick -MGM

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The end of the year will be charged of nice intentions. At Nordic Materials, we believe strongly in some 2010 resolutions. For example, what will come out of the Copenhagen Conference, and the fact that we have to go down to zero (enough is enough says Gaïa) CO2 emission within maximum 80 years if we just want to stabilize the situation, according to 29 climatologs. It is not that things will be that horrible and that we will disappear at once; but it is just going to change faster, much faster than expected. It could be clever to buy pieces of land in what is for now rural areas of the Netherlands or outer Londonian suburbs. Because in one small century, they will become the next thermal city fashionista, as Bruxelles could be, in 200 years, an ocean city. To change our use of natural resources in the soon future, contribution can come from alternatives for the production industry within the field of materials.

From january 2010 Nordic Materials, is touring the exhibition called “C(h)ameleon“.
Over time and through evolution, animals have developed natural forms of defense and survival techniques.  One of the most visibly apparent examples of this is the Cameleon, a distinctive type of lizard.  Some, but not all, chameleons have the ability to change the colour of their skin as to blend into their surroundings and camouflage themselves from potential predators or prey.  This transformational ability and many more, such as the possibility to change under the influence of electricity, light, water or movement with varied optical effects can be found in  the materials exposed in the Nordic Materials latest exciting C(h)ameleon Material Exhibition. C(h)ameleon will open at Miktech, Mikkeli University in Finland the 5th of january 2010. Transplant will then show the exhibition during the month of March 2010 (an invitation will follow). Here can you discover materials from the textile industry to materials that have been used for building facades, C(h)améléon is an up to date insight into a field related to the Biomimicry field many are exploring at the moment. For more information about renting or attending the exhibition please contact us: about [ a t ] nordicmaterials [ d o t ] com.

© Superfabric

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SuperFabric® technology by HDM inc.
Before the bubbly moment of this so called 2010 first day, we would like to share, after watching 2010 Odyssey of Kubrick (again), a material coming out if this anticipated dream: SuperFabric® technology by HDM inc, is a finishing process that takes ordinary fabrics ans transforms them into high performance fabrics. These new protective fabrics can be engineered from optimum resistance to abrasions, lacerations, punctures, stains, and more while remaining flexible. The plates are inert, eco-friendly materials. 
There are a wide variety of environmentally-friendly SuperFabric brand materials that can be constructed. For example, non-halogenated flame retardants can be used with SuperFabric brand materials along with a flame-retardant cotton substrate to produce an eco-friendly flame-retardant and tear-resistant product.

photo: Burton Snowboards © 2009

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Living to Wear and Wearing to Live

At this time of year in Norway, thermal underwear starts to be something of a seasonal necessity rather than a celebrated choice for fashionistas.  It was no surprise then that we could not help but notice some of the latest trend impulses toward visible outer wear akin to a secondary skin.  By secondary skin we don´t mean wooly animal furs draped over our limbs, though.  Tight fitting wears that stick to the skin and add living properties to the wearable function.  These living properties could be breathable and light material, phase changing intelligent textiles, colour changing C(h)améléon materials or simply tight fitting and alluring cuts of cloth for those chasing a certain look. We examine the possibilities of clothes and fabrics that give the most functions; clothes that we imagine to be more than just wearable but also like a secondary skin.

At present, there are number of high-tech materials that have been discovered, developed and produced by NASA that are now available to the general public  through use in fabrics, plastics and composites. One such material is Outlast Adaptive Comfort, a material which behaves like a temperature regulator and that was initially used for astronauts gloves being exposed to extremes variations in temperature. This thermo-regulating technology can be applied to fabrics as a coating or as part of a yarn woven into a textile. It functions by absorbing the warm excess heat and giving it back when the body needs it most and vice versa regarding excess cold. The result is an excellent comfortability, a reduction in excess heat and cold and ultimately control over the body’s temperature. The technology involves the use of a microencapsulated and phase changing material, which needs to be in a close proximity with the body to work most efficiently.  A less high-tech material but, all the same a living and breathing textile that continues to work while being worn; Tencel is a material technology which utilizes natural wood cellulose and the Lotus Effect to create a smoother fiber structure for better breathability and greater comfort. The body of the wearer is protected by a soft and light second skin, which mixes softness and resistance, nature and technology, comfort and ecology. Tencel brings together many material qualities that could make other alternatives seem inferior.  Testament to this materials properties are the fact that leading outdoor wear specialists such as Patagonia and Helly Hansen are loyal users of it throughout their ranges of clothing.

Naturally Sourced and Reused Materials

‘As the emphasis shifts increasingly to the wholesome, authentic and organic, designers are looking for original ways to use natural materials.  Safeguarding the natural world emerges strongly as a theme.’
Frame magazine, issue number 69 July/August 2009

The advent of greater social awareness to sustainability and a desire for more narrative information from products has rapidly benefited the attention of perceived material innovation.  Perhaps ten years ago it would not be so easy to spot recycled or biodegradable materials and products in the public domain but now it is almost a daily occurrence.  There are many options for a designer or producer to be seen as acting green.  What is not clear however, is whether what we believe to be green materials or techniques actually are.  At Nordic Materials we aim to challenge what is taken for granted as being green and together with our network accredit what we see as rightful bearers of an eco or green badge.

The recent ‘Growing Materials’ exhibition, which can at present can be seen in Finland, was an exhibition primarily about materials that were enhanced by the use natural materials such as wood in its various states.  The large amount of bio-polymers that could be biodegradable or compostable is representative of a trend toward the use of such materials.  As packaging, decoration or a standard plastic alternative; biodegradable plastics sound ideal.  After use, send it to the trash and then it vanishes.  The reality of such a material is quite different though when you examine some industry experts opinions.

Since 1994 Smile Plastics has been committed to sourcing and developing innovative ideas and markets for recycled materials, concentrating on transforming plastic waste into multicoloured sheets.  Colin Williamson from Smile Plastics opines that not only is there more energy and cost in the production of biodegradable plastics but that the major problems lie in post use.  He also remarks how when standard plastics are put to waste, they may take up space in landfill sites but that they stay inert like rocks – not polluting or doing any more harm to the environment.  Some biodegradable plastics however, go on to release methane amongst other toxic gasses during the degradation period.  Testament to this issue are some recent EU initiatives aimed at limiting the amount of biodegradable plastics going to landfills.

An interesting view but, by all means not a damming critique of all things bio.  A quite different type of material and end result can be found with bio-composites.  In relative geographic proximity to Smile Plastics, Scotland’s Cellucomp have a vision to lead the world in providing high performance composite products manufactured from sustainable sources. They have developed a bio-composite material that is an alternative to glass or carbons fibers and is actually derived from degraded carrots.  At present the material has found use in a fishing rod with excellent bending stiffness, superior to carbon and glass fibers.  Cellucomp themselves point out that many bio-composites up till now have proven to have limitations, particularly with inferior strength and stiffness compared with glass or carbon fiber.  It is for this reason they strive to fill the need for bio-composites with increased performance, particularly with stiffness, strength and toughness.  A bright solution for a bio material that is made to last and not degrade.

photo: © 2009 Litracon

Material Selection to Copenhagen Design Week.

An exciting new series of accessible and informative material services makes it possible to order physical samples from Nordic Materials. It was with great pleasure that we watched the first selection leave our headquarters at Transplant for Denmark this morning. The Material Selection is a collection of physical material samples specially selected according to the clients brief and including material data, contact details, labels and cartouche – read more about it and order here.

The Material Selection included materials from the Growing Materials exhibition, currently exhibited in Finland, and the forthcoming C(h)améléon materials exhibition. The destination of this selection will be Denmark where the materials will be displayed by the Development Center for Furniture and Wood, UMT, as part of a unique event at Copenhagen Design Week. We are honored to play a role with such a prestigious event and  look forward to being involved in more similar programs in the future. You can see an interactive preview of the event here. You can also find full descriptions and order details of  all of our new and improved material services through our material services section. For those who attend, have a great Copenhagen Design Week from Nordic Materials!

photo: © 2009 Nordic Materials

Advanced Materials with Comforting Properties

because as an industrial designer,  the vast majority of my work in general is produced using high tech materials, so where possible for GStar we ‘ve tried to identify and use similarly interesting textiles … e.g. Gore-Tex laminate.
Marc Newson, International product designer

The long dark nights are looming and the rain has began to drip like a sumo wrestler in a sauna.  Thoughts are now going to layering up and keeping dry in the Nordic regions.  We’ve been thinking ahead at Nordic Materials and have drowned ourselves in a wave of exciting and effective high tech textiles.  From phase-changing C(h)améléon materials to textiles that moisturize your skin as you wear them you can now find them all in our material library located on the west coast of Norway.

Marc Newson is no stranger to new technology or innovation, happily jumping between projects for air jets and decorative jewelery.  His latest clothes range for G-Star (their 6th year of collaboration) was exhibited in  the Parisian mecca of culture Colette earlier this year and featured a monochromatic choice of fluid lines, subtle seams and high quality materials.  Amongst the materials included in the  9 piece collection such as wool and leather, a high-tech Gore Tex laminate was used. All Gore-Tex fabrics are already waterproof, windproof and breathable however when the Gore-Tex membrane is bonded with another high performance fabric it creates a laminate.  These laminates can provide extra properties according to what the maker desires; weight, texture, abrasion resistance and so on.  So as the Autumn/Winter months close in, remember to think about what you wear and what it´s made from.

photo: © 2009 Marc Newson for G-Star

Local Materials with a Global Context

Amongst a constant wave of technological advancement and exciting new scientific development, those involved and interested in materials can often forget the most basic yet effective hand-made solutions.  While biomimicry sets out to replicate the infinite possibilities and ideas nature already provides, many artists and designers who do not have direct access to high-tech and scientific tools are developing their own materials with whatever resources they can set their hands upon.  Whether the end results or processes are compostable, re-cycled, re-used or hand woven these materials can be just as sustainable a solution as so-called ‘eco materials’.  From the reduction in mass manufacturing, re-use of objects and the possibility of going local and reducing transportation needs such action can make positive difference.

In our remote outpost in the West Coast of Norway we are lucky to be in geographical proximity of an international college, the Nordic Artists’ center and many local artists and designers throughout the Sogn og Fjordane region.  We recently had the pleasure of meeting one such local artist from neighboring town Førde as she visited to show us her hand-made woven textiles derived from paper, cotton and metal yarn as well as other materials such as bamboo.  Oddlaug Fonn Skaar’s designs for her Fonn Design label were refreshing to see, it reminded us that composite and innovative materials don’t have to be complex gels, moulds or processes.  By combining different yarns, Oddlaug created different properties to her aesthetically light, fine and attractive textiles.  By weaving paper yarn into the textile the final material becomes more stiff while cotton yarn used in the same way would make a softer and more flexible finish.  We are proud to now house a truly local and innovative material in our material library and you can see more of Oddlaug’s work through her website here. You can read more about what is happening with local and visiting artists throughout the West Coast regions on the website West Norway Air.

photo: © 2009 Fonn Design

Leopards That Can Change Spots

While delving through our online digital resource as part of research for the latest exhibition Nordic Materials have available to rent, Chaméléon, we found a mass of exciting materials, initiatives and objects that followed the exhibition’s theme. From materials that could change under the influence of electricity, light, water or movement to materials with varied optical effects, there was a large amount of examples of their practical and aesthetic uses throughout.

Uses of Chaméléon materials we found during our research ranged from full building facades to microscopic changes that bared little impact to the eye but, served an important practical use.  An example of the latter can be found in Klimeo’s heat-regulating textiles which, combine the natural heat-regulating properties of Australian merino wool with micro-encapsulation technology.  The unique process ensures that the person wearing a Kimeo garment maintains a level and comfortable temperature throughout the duration of their use.  The high technical performance of this material means it can be used not only in the fashion industry but, even the automobile industry where high-performance materials are essential due to safety needs.  A more visible and interactive Chaméléon material we found was Modulor’s kinetic 3d-film.  A material that mirrors the effect of the shiny stickers many of us used to fervently seek out to fill our sticker albums during our youth, or for some still today.  The film has a layered honeycomb structure which, allows for the impression of depth and distortion to be accentuated or appear deformed – ideal to catch the eye of passer by.  The aesthetic nature of this material again lends itself to a more fashion related use such as  curtains, bags or for accessories and decoration.

photo: © 2009 Modulor

Making It With Metal Waves

We recently had the pleasure of introducing a high-school intern into the world of innovation and design for one week of work experience at Transplant.  In the duration of her week´s experience she learned about each individual´s role in Transplant and how they combined to make an end product.  To enhance the learning experience and understanding of the design process we developed a design brief and tutored her along the way, culminating in a presentation of the final design in the Nordic Materials library. It was exciting to watch as our intern learned about creative processes and realized the elements of design that she enjoyed the most.  The final product was a fashion garment and took influence from the surrounding landscape of sculptural green hills and deep blue fjords.

The choice of materials varied from decorative and high-end textiles such as Swarovski´s Crystal Mesh, a product of the CRYSTALLIZED™ – Swarovski Elements assortment, to Naturtex’s Plata and Marino fibers, normally used with fabric and rugs. While the material choices varied in aesthetic they were all based on metal mesh structures, perhaps testament to the hard with smooth landscape the design was influenced by.  It was also interesting that at a time when the haptic quality of materials is becoming more of a necessity than a fascination, materials normally seen as more rough and less touchable such as metal could be used for a delicate and styled garment. Another example of metal mesh finding haptic qualities could be found in the use of LED´s in Haver & Boecker’s new LED system ‘Imagic Weave‘ which incorporates LED profiles to the reverse of the metal wire mesh allowing users to create attractive indoor or outdoor lighting effects.  This material is also a recent arrival to Nordic Materials material library.

photo: © 2009 Swarovski

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Recycled Audio Tape Finds a New Coat of Arms

At Nordic Materials we are constantly monitoring the material market and keeping in touch with what is happening in the world of materials.  Recently, during research, we discovered a charming material that showed the possibilities of reuse of rejected products.  Design Tex’s ‘Sonic Fabric’ was initially developed by the multi-media sound artist Alyce Santoro to finally be used as a dress for musician Jon Fisherman to wear and play on during a performance. It’s made entirely from old cassette tape.  While this material may not, at present, have great technological capabilities it is a good example of how we can think of product after-life.  As the realization that many of the new products released into the global market (one every three minutes in 2008) cannot find a home for life, it is important to understand that they cannot just be thrown away and added to already oversubscribed landfill sites.

‘Sonic Fabric’ was also recently displayed in a glamorous manner through the fashion designs of former pro skater Pierre Andre Senizergues.  Senizergues’s main piece for his most recent collection is a suit produced with the recycled cassette tape material.  An article about the collection and use of the material featured in seminal culture and fashion magazine Dazed and Confused.  Read it here.  You can also see the material in use as part of the ‘Fabric for Thought’ sustainable fashion exhibition at Koldinghus in Denmark from May 7 until September 6 this year.

photo: © 2009 Alyce Santoro

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Sustainable Design as a Tool of Progression

‘Eighty percent of the environmental impact of today’s products, services and infrastructures is determined at the design stage.  Design therefore has an enormous impact on resource efficiency in our economy, and can make a critical contribution in the transition to sustainability.’
John Thackara, Director of Doors of Perception

Sustainable decisions may no longer be seen as a burden for companies to mull over or avoid.
Under pressure from new legislation (within individual countries and collectively) and with the guidance of the many ‘green-minded’ initiatives sprouting up around the globe, companies are enforced to no longer sweep the sustainable option to one side.  In fact, the act of embracing a more sustainable attitude to business should not be seen as a marketing buff, but an investment for increased earnings.  Initiatives such as Giraffe Innovation in the United Kingdom, a leading Eco-Design consultancy, are testament to the progress sustainable action can bring.

Up to now Giraffe Innovation have identified over £23 million of potential savings for British companies through a simple re-evaluation of their production process. Giraffe are not only guiding other companies on a consultancy basis but, they are also leading the way with their development of the first commercially available electrical goods, a Ferrari and Meridian branded hi-fi, manufactured using recycled material, HIPS (high impact polystyrene).  Another example of a company using innovation in sustainable choices, and achieving financial results, can be found with the DuPont company.  A larger organization than Giraffe Innovation, worth $25 billion in 2008, DuPont have saved nearly $3 billion over a period of around 20 years as the result of reducing carbon emissions.  Since 1990 they have reduced their global greenhouse gas emissions measured as C02 equivalents by 72%.

Whether companies choose to invest their own time in embracing and initiating change or involve the guidance and expertise offered by Eco-Initiatives or consultancies, will be a decision to take and not ponder.  At Nordic materials we offer the opportunity to share our knowledge and permanent research about sustainable materials and processes through Material Days and Material Dossiers.   For more information regarding these services or an answer to your queries please email us or call directly to Nordic Materials headquarters +47 577 355 96.

photo: © 2009 Nordic Materials