48 new materials - Material ConneXion
48 new materials - Material ConneXion
48 new materials - Material ConneXion
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A Publication of <strong>Material</strong> <strong>ConneXion</strong>®/The World’s Largest Resource for Advanced, Innovative <strong>Material</strong>s/www.materialconnexion.com<br />
Volume 3.2<br />
US $ 5.00<br />
INSIDE:<br />
SANDY CHILEWICH<br />
TRANSPARENT SUSTAINABILITY<br />
<strong>48</strong> NEW MATERIALS<br />
BEST OF SHOW
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<strong>Material</strong> <strong>ConneXion</strong> NEWS<br />
P. 3<br />
P. 4<br />
P. 5<br />
P. 6<br />
<strong>Material</strong> <strong>ConneXion</strong><br />
<strong>Material</strong> <strong>ConneXion</strong> Bangkok<br />
<strong>Material</strong> <strong>ConneXion</strong> Cologne<br />
<strong>Material</strong> <strong>ConneXion</strong> Milano<br />
OF MATERIAL INTEREST<br />
P. 8<br />
P. 11<br />
<strong>Material</strong>s With a Mission<br />
Great design turns abaca into gold<br />
Interview<br />
Sandy Chilewich reminisces about her <strong>materials</strong> career<br />
STATE OF THE ART<br />
P. 17<br />
P. 18<br />
Best of Show<br />
Three extraordinary <strong>new</strong> <strong>materials</strong> selected by our jury<br />
<strong>48</strong> New <strong>Material</strong>s<br />
Recent additions to our library and database<br />
MATERIAL PROFILE<br />
P. 24<br />
P. 26<br />
<strong>Material</strong>s at Extreme Temperatures by Dr. Andrew Dent<br />
Sourcing tips<br />
Smart Fabrics by Dr. Cynthia Tyler<br />
The next generation is genius!<br />
IN THE MATERIAL WORLD<br />
P. 28<br />
P. 30<br />
P. 32<br />
P. 35<br />
Transparent Sustainability by Lindsey Clark<br />
Granola is going, going, gone<br />
This Green House by Alanna Stang<br />
Inspirational and environmentally friendly<br />
Inside the Box by Phil Patton<br />
Shipping containers in art and commerce<br />
Join <strong>Material</strong> <strong>ConneXion</strong><br />
Cover: Quilted Bacbac Panel<br />
Photo: © Colleen Noonan<br />
CONTENTS<br />
1
2<br />
WELCOME Spring is a very exciting season for<br />
<strong>Material</strong> <strong>ConneXion</strong>. We kicked it off with<br />
an appearance at the Salone del Mobile in<br />
Milan and, when this magazine comes off<br />
the press, we will be poised to launch an<br />
ambitious suite of design events to take place<br />
during New York Design Week.<br />
On May 19th, <strong>Material</strong> <strong>ConneXion</strong> is pre-<br />
senting its second annual symposium,<br />
TERRA MATTER: Inspire, Innovate, Sustain.<br />
For those of you who attended Malfatto,<br />
TERRA MATTER will be bigger and even<br />
better. It will feature designers and<br />
intellectuals whom I feel are saying some-<br />
thing relevant, urgent, and unique about<br />
<strong>materials</strong>, design, and sustainability. Some<br />
of these stars I’ve admired for a long time—<br />
Michele Oka Doner, Leslie Hoffman, and Dr. Michael Braungart, for instance—<br />
and some are fresh voices who have caught my ear: Sergio Palleroni, Sami Hayek,<br />
Jill Dumain, and Natalie Chanin, among others.<br />
The program will continue at the International Contemporary Furniture Fair, with<br />
<strong>Material</strong>s Focus Sessions and the unveiling of Transformations, an exhibition of the<br />
building elements and furniture that resulted from a successful partnership with the<br />
Philippine government.<br />
I certainly hope you can join us in May at TERRA MATTER, ICFF, or our<br />
New York office.<br />
George M. Beylerian<br />
Founder and President<br />
<strong>Material</strong> <strong>ConneXion</strong>
<strong>Material</strong> <strong>ConneXion</strong> ®<br />
Headquartered in New York City with locations in Bangkok, Cologne, and Milan,<br />
<strong>Material</strong> <strong>ConneXion</strong> ® has become the definitive resource of cutting-edge <strong>materials</strong> for<br />
architects, artists, and design ers from all disciplines. At our physical libraries, visitors<br />
can reach out and touch the latest inspiring gels, plastics, resins, foams, and laminates.<br />
Complete access to the <strong>Material</strong> <strong>ConneXion</strong> database is also available online.<br />
Following is an update of our initiatives to spread our <strong>materials</strong> expertise worldwide.<br />
Salone del Mobile New Hires<br />
This year’s Salone del Mobile was bigger than<br />
ever. More exhibitors, more buyers, more manufacturers,<br />
and more international press, all<br />
brought together under one dramatic, sweeping,<br />
fiberglass-and-steel canopy designed by architect<br />
Massimiliano Fuksas. Over the course of five days,<br />
they came by the thousands—250,000 by the latest<br />
count—speaking myriad different languages.<br />
Experimental <strong>new</strong> <strong>materials</strong> were a clear trend<br />
throughout the fairgrounds, and visitors obviously<br />
appreciated the relevance of <strong>Material</strong> <strong>ConneXion</strong>’s<br />
message.<br />
The <strong>Material</strong>s Matter exhibition, which the “cream<br />
of the crop” from <strong>Material</strong> <strong>ConneXion</strong> Milan’s permanent<br />
collection, was prominently situated on<br />
the “main street” that connected the various pavilions<br />
housing home furnishings, kitchens, baths,<br />
and lighting show rooms. It was also adjacent to a<br />
bookstore specializing in architecture and design<br />
publications and the crowd naturally spilled over<br />
to request information on <strong>materials</strong>, to meet with<br />
MC representatives, to purchase catalogues, and<br />
to join the <strong>materials</strong> library.<br />
In conjunction with the exhibit at the Fair, MC<br />
showed off its collection of <strong>materials</strong> within the<br />
Milan Triennale, one of the most famous design<br />
museums in the world. The space, designed by<br />
architect Michele de Lucchi, lay on the design pilgrims’<br />
path and enjoyed constant traffic throughout<br />
the five-day event.<br />
Partnership with<br />
Furniture Society<br />
<strong>Material</strong> <strong>ConneXion</strong> is pleased to announce its<br />
partnership with the Furniture Society, a taxexempt,<br />
nonprofit organization that aims to<br />
advance the art of furniture making.<br />
For more information, go to<br />
www.furnituresociety.org.<br />
Furniture Society members will receive 10% off any<br />
individual or corporate access plan. For more information<br />
on this group, contact Michael LaGreca,<br />
Director of Library Access Programs, at 212-842-<br />
2050 or access@materialconnexion.com.<br />
Steven Wagner joined <strong>Material</strong> Connexion in March<br />
2006 as Director of Marketing and Corporate<br />
Communications. Prior to joining the company he<br />
had been the Senior<br />
Design Editor of House<br />
Beautiful Magazine and<br />
was one of the founding<br />
editors of Metropolitan<br />
Home Magazine. Over<br />
the past ten years he<br />
has worked with the<br />
Hearst Magazine Group<br />
in various roles as editorial<br />
director of the web<br />
component of maga-<br />
Steven Wagner<br />
NEWS<br />
zines such as Town<br />
and Country, Redbook,<br />
Cosmopolitan, Good Housekeeping, Harpers Bazaar,<br />
House Beautiful, and Country Living. He has a long<br />
history of working in the <strong>new</strong> media/internet arena<br />
and will be concentrating on enhancing the <strong>Material</strong><br />
<strong>ConneXion</strong> web site as well as on working with the<br />
national and international press to promote the mission<br />
of <strong>Material</strong> <strong>ConneXion</strong>.<br />
<strong>Material</strong> <strong>ConneXion</strong> also welcomes Stuart Glass to<br />
its sales and marketing team as the Vice President<br />
of Sales and Business Development. In this position,<br />
Mr. Glass will be broadening the reach of the firm’s<br />
consultancy practice, called the Advanced <strong>Material</strong><br />
Solutions Teamsm , which<br />
provides custom <strong>materials</strong><br />
research services<br />
to manufacturers,<br />
designers, architects,<br />
and specifiers in all disciplines.<br />
His attention<br />
will also be given to Innovation<br />
Marketing sm<br />
services and visibility<br />
programs for material<br />
developers. He will build,<br />
oversee, and manage Stuart Glass<br />
the company sales force.<br />
He provided strategic design leadership on<br />
<strong>Material</strong> <strong>ConneXion</strong> ®<br />
both national and New York international · Bangkok · Cologne · Milan high-profile<br />
integrated branding projects as former CEO of<br />
Stuart Glass Design Group and a Design Director of<br />
Landor Associates and Lippincott-Mercer.<br />
<strong>Material</strong> <strong>ConneXion</strong> ®<br />
New York · Bangkok · Cologne · Milan<br />
127 West 25th Street, 2nd Floor<br />
New York, NY 10001<br />
T +1 212 842 2050 / F +1 212 842 1090<br />
E info@materialconnexion.com<br />
MATERIAL CONNEXION<br />
3
MATERIAL CONNEXION BANGKOK<br />
4<br />
<strong>Material</strong> <strong>ConneXion</strong> ®<br />
Bangkok NEWS<br />
This spring, <strong>Material</strong> <strong>ConneXion</strong> Bangkok has<br />
undertaken several successful initiatives to<br />
reach out to its constituency.<br />
In conjunction with the Thailand Creative &<br />
Design Center (TCDC), <strong>Material</strong> <strong>ConneXion</strong><br />
Bangkok exhibited at the Thailand International<br />
Furniture Fair 2006 / Interior Design Asia, from<br />
March 8 – 12, 2006. “Thailand International<br />
Furniture Fair / Interior Design Asia is one of<br />
the premier events of the design, furniture, and<br />
furnishing community in Asia. We are pleased<br />
to be part of this event, which focuses on the<br />
creative forces shaping the future of the industry:<br />
concepts, trends, <strong>materials</strong>, and technologies,”<br />
commented Chaiyong Ratana-ung-goon,<br />
Vice President of <strong>Material</strong> <strong>ConneXion</strong> Bangkok<br />
and Managing Director of TCDC.<br />
At the fair, countless visitors took the opportunity<br />
to explore the showcase, which was designed<br />
to appeal to all five senses. The feedback was<br />
overwhelmingly positive.<br />
The exhibition highlighted tabulae from the first lot<br />
of Thai <strong>materials</strong> juried into <strong>Material</strong> <strong>ConneXion</strong>’s<br />
archive. It attracted tremendous interest from<br />
the local media, architects, engineers, interior<br />
designers, industrial designers, and other<br />
manufacturers. The five featured <strong>materials</strong><br />
from Thailand are Weaving Paper from Daorath<br />
Handicraft Group, Look-Lee Fabric from Daorath<br />
Handicraft Group, Crystaline Mosaics from<br />
N Cubed, Fur Stories from Graph-Tex Studio,<br />
and Fake Fur from Jong Stit. “We strongly believe<br />
that <strong>Material</strong> <strong>ConneXion</strong> Bangkok will<br />
source more and more <strong>new</strong> <strong>materials</strong> and develop<br />
them to meet the needs of designers and<br />
manufacturers locally and worldwide,” said<br />
Chompoonuj Weerakitti, Director of <strong>Material</strong><br />
Library, <strong>Material</strong> <strong>ConneXion</strong> Bangkok.<br />
Apisit Laistrooglai, Managing Director of<br />
<strong>Material</strong> <strong>ConneXion</strong> Bangkok and Director of<br />
the Resources Center, TCDC, added, “Given the<br />
increasing sophistication and consciousness of<br />
today’s consumers, a fitting use of innovative<br />
<strong>materials</strong> is one that considers the following: Is<br />
it stronger and lighter, is it less expensive, is it<br />
environmentally friendly and durable? Designers<br />
must keep an eye on the most recent international<br />
<strong>materials</strong> developments on an international level<br />
and yet, at the same time, also appreciate their<br />
own indigenous natural <strong>materials</strong>.”<br />
On February 17, <strong>Material</strong> <strong>ConneXion</strong> Bangkok, in<br />
cooperation with TCDC, hosted its first subscribers’<br />
party at the Thailand Creative & Design Center.<br />
Mr. Pansak Vinyaratn, chairman of the TCDC,<br />
warmly welcomed the more than 50 attending<br />
subscribers with an inspiring speech. During the<br />
get-together, the crowd was introduced to <strong>new</strong>ly<br />
arrived <strong>materials</strong>.<br />
At the next event, on April 20, George M. Beylerian,<br />
Founder and President of <strong>Material</strong> <strong>ConneXion</strong>,<br />
and Dr. Andrew Dent, Vice President of Library<br />
and <strong>Material</strong>s Research, were on hand to per-<br />
®<br />
sonally <strong>Material</strong> greet subscribers. <strong>ConneXion</strong>After<br />
Bangkok the reception,<br />
Dr. Dent lectured New York on · Bangkok The · Cologne Influence · Milan of <strong>Material</strong>s on<br />
Design Innovation at the TCDC auditorium.<br />
®<br />
<strong>Material</strong> <strong>ConneXion</strong> Bangkok<br />
New York · Bangkok · Cologne · Milan<br />
6th Floor, The Emporium Shopping Complex<br />
622 Sukhumvit 24<br />
Bangkok 10110 Thailand<br />
T +66 0 2 664 84<strong>48</strong><br />
F +66 0 664 8459<br />
E infothailand@materialconnexion.com
Photo: Survey<br />
inc?<br />
capitals?<br />
<strong>Material</strong> <strong>ConneXion</strong> ®<br />
Cologne NEWS<br />
Good <strong>new</strong>s! According to IFO, the institute for<br />
economic research, the motor of Germany’s<br />
economy has fired up. Experts calculate a 1.5%<br />
economic growth for 2006. And with high export<br />
figures and an increase in domestic investment,<br />
manufacturing industry is right at the forefront<br />
of this development. German companies, among<br />
the worldwide technological elite, are once<br />
again making healthy profits. In recognition of<br />
this fact, the stock market has reached record<br />
levels.<br />
The German branch of <strong>Material</strong> <strong>ConneXion</strong>, established<br />
in March 2005 in Cologne’s design<br />
center, is already profiting from this trend and<br />
has registered an increase in demand. The consultancy<br />
service in particular is showing satisfying<br />
growth. Internationally renowned companies<br />
from a wide variety of industries all figure in<br />
<strong>Material</strong> <strong>ConneXion</strong> Cologne’s customer listing<br />
and avail themselves of the library’s extensive<br />
range of <strong>materials</strong> and services. These include<br />
German automobile manufacturers, internationally<br />
recognized fashion labels and textile<br />
companies, producers of consumer goods, and<br />
telecommunications suppliers, as well as many<br />
companies and independent designers involved<br />
in interior design.<br />
Alongside the big names from business, many<br />
small- and medium-sized suppliers are also<br />
subscribers to Cologne’s library. Often these<br />
are the real innovators, because today it is the<br />
suppliers’ development teams who completely<br />
manufacture the pre-assembly products used<br />
in automobiles, furniture, consumer goods, etc.<br />
Designers are developing <strong>new</strong> ideas on a daily<br />
The <strong>Material</strong> <strong>ConneXion</strong> Cologne Team (left to right): Niki Vogiantzi, Anne Farken,<br />
Karsten Bleymehl, Rolf Warda, Carsta Schauff and Sandra Wichtrup.<br />
basis, experimenting with <strong>new</strong> <strong>materials</strong> and selecting<br />
and combining these according to their<br />
visual, haptic, and functional qualities. <strong>Material</strong><br />
<strong>ConneXion</strong> offers them a one-stop platform where<br />
they can quickly find information that might otherwise<br />
require hours of time-consuming research<br />
on their part to obtain.<br />
In response to the increase in demand, the team<br />
at <strong>Material</strong> <strong>ConneXion</strong> Cologne has grown significantly<br />
over the past year. In addition to Manager<br />
Rolf Warda, five colleagues are employed in Cologne:<br />
Karsten Bleymehl and Anne Farken (research),<br />
Niki Vogiantzi (sales), Sandra Wichtrup<br />
(management), and Carsta Schauff (office). Their<br />
range of duties includes participation at industry<br />
shows—from exhibition stand design through customer<br />
care. In 2006 alone, <strong>Material</strong> <strong>ConneXion</strong><br />
Cologne attended six trade fairs including the biggest<br />
industrial show in the world, the Hannover<br />
Messe. At this and other such shows, the MCC<br />
team has the chance to track down innovative <strong>materials</strong><br />
and processing methods and to introduce<br />
itself to manufacturers. After all, at the end of the<br />
day, the library is built on what it gives its customers:<br />
a pool of innovative, cutting-edge <strong>materials</strong>.<br />
Lichtstr. 43 G<br />
50825 Cologne, Germany<br />
T +49 221 99 22 28 0<br />
F +49 221 99 22 28 11<br />
E infogermany@materialconnexion.com<br />
MATERIAL CONNEXION C OLOGNE<br />
5
Formed by Nature, Crafted by Man<br />
Known as one of the most technically innovative companies in the wood<br />
industry, The G.R. Plume Company brings distinctive solutions to the clients of<br />
<strong>Material</strong> <strong>ConneXion</strong>, opening up <strong>new</strong> and unexpected uses of organic wood<br />
products such as RFKD timber. Radio frequency kiln dried freshly sawn timber<br />
maintains the classic motif of true wood timber without the frustration of<br />
performance problems during and after incorporation, making it one of<br />
the most solid, stable and purest <strong>materials</strong>.<br />
MC # 5361<br />
G.R. Plume Company 1373 West Smith Road Suite A-1 Ferndale, WA 982<strong>48</strong> Tel: 360-384-2800 Fax: 360-384-0335 www.grplume.com
inc?<br />
capitals?<br />
<strong>Material</strong> <strong>ConneXion</strong> ®<br />
The 45th Salone Internazionale del Mobile<br />
and associated events took place from April 5<br />
to 10 inside Milan’s brand <strong>new</strong> fairgrounds situated<br />
in the city’s northern suburb, Rho-Pero.<br />
The space was immediately sold out to 2,549<br />
exhibitors anxious to display the best of their<br />
home and office furniture production.<br />
The exhibited designs, characterized by warm,<br />
enveloping environments furnished with colorful<br />
and comfortable pieces, reflected the<br />
Italian home and life style. The <strong>new</strong> home<br />
concept turns its back on absolute minimalism<br />
and welcomes a wide range of textures,<br />
decorations, and colors.<br />
Combinations of styles and furnishings create<br />
environments conceived for wellbeing. This is<br />
especially apparent in bathroom and kitchen;<br />
however, there was also obvious attention<br />
paid to making working areas more comfortable,<br />
functional, and ergonomic: the office as<br />
second home.<br />
<strong>Material</strong> <strong>ConneXion</strong> exhibited a selection of<br />
cutting-edge <strong>materials</strong> from three interesting<br />
areas of material development:<br />
• New polymer forms<br />
• Alternative natural <strong>materials</strong><br />
• Metal processing<br />
New polymer forms<br />
The development of good quality expanded<br />
foams from plastics such as polypropylene<br />
and polyethylene has broadened the application<br />
field for these molded, lightweight rigid<br />
forms. Easily colorable and shaped to complex<br />
geometries, they can also be molded onto textiles,<br />
incorporate metallic objects, and have<br />
texture. The organic-looking, convoluted ligaments<br />
of soil erosion matting also buck the<br />
assumption that molded polymers need to<br />
have synthetic-looking regular forms.<br />
Alternative natural <strong>materials</strong><br />
Creative use of bark, wheat, and paper <strong>materials</strong><br />
has given us <strong>new</strong> ways of looking at natural<br />
Via Davanzati n. 33<br />
20158 Milano, Italy<br />
T +39 02 39 32 55 85<br />
F +39 02 39 32 12 39<br />
E infoitalia@materialconnexion.com<br />
Milano NEWS<br />
surfaces. Although produced using techniques<br />
thousands of years old, the re-purposing of<br />
bark cloth has added a unique textural surface<br />
to both flexible cloth sheet and also rigid laminate.<br />
Foamed paper forms for packaging give<br />
us more sustainable packaging alternatives<br />
to current plastics, and pressed, rigid wheat<br />
waste has been used to decorative advantage<br />
in particleboard alternatives.<br />
Metal processing<br />
The continued lure of metals and metallic surfaces<br />
has led to a number of developments<br />
in alternative ways of recreating the solidity<br />
and surface effect of this class of <strong>materials</strong>.<br />
Multilayering of dissimilar metals can create<br />
<strong>new</strong> color combinations when the metals are<br />
bent and polished. The use of pressure to deform<br />
welded steel results in almost soft looking<br />
creases and folds. Plating plastics with hard,<br />
wear- and corrosion-resistant metal has also<br />
become a more viable alternative to solid metal,<br />
creating the feel of titanium, stainless steel,<br />
and other high-performance <strong>materials</strong> without<br />
the attendant processing and cost issues.<br />
c/o La Triennale di Milano<br />
Viale Alemagna 6<br />
20121 Milano, Italy<br />
T +39 02 72 43 42 55<br />
F +39 02 39 32 12 39<br />
E triennale@materialconnexion.com<br />
MATERIAL CONNEXION MILANO<br />
7
OF MATERIAL INTEREST<br />
108<br />
MATERIALS WITH A MISSION<br />
by Lilas Harley<br />
The more than 7,000 volcanically formed<br />
islands that compose the Philippines encompass<br />
spectacular forests, wetlands,<br />
and beaches. It is no secret that, in contrast<br />
to this natural abundance, many of the<br />
nation’s nearly 88 million inhabitants live<br />
in poverty. Traditionally, skilled craftsmen<br />
made a living fashioning decorative household<br />
items, gifts, and accessories out of the<br />
plants, shells, and rocks that surrounded<br />
them. However, strenuous competition from<br />
China—which can make such products for<br />
less—has seriously threatened this income<br />
source.<br />
In conjunction with the Philippine Department<br />
of Trade and Industry and the Center<br />
for International Trade Expositions and<br />
Missions (CITEM), <strong>Material</strong> <strong>ConneXion</strong> has<br />
successfully completed the unique project<br />
Transformations: Nature & Beyond, which<br />
explores <strong>new</strong> applications of indigenous<br />
<strong>materials</strong> in an effort to breathe <strong>new</strong> life<br />
into the Philippine economy. Individually,<br />
the furniture, interior, and architectural<br />
elements that resulted from the endeavor<br />
exemplify outstanding design; collectively,<br />
they represent a bold plan to accelerate the<br />
economy of developing nations.<br />
CITEM approached George M. Beylerian,<br />
founder of <strong>Material</strong> <strong>ConneXion</strong>, because of<br />
Beylerian’s formidable reputation as one of<br />
design’s savviest businessmen, with a special<br />
sensitivity for <strong>materials</strong>. With CITEM<br />
overseeing the manufacturing facilities,<br />
Beylerian brought in big designer names<br />
from Europe and the United States. A veteran<br />
of the furniture industry, Beylerian k<strong>new</strong><br />
that these exceptional talents, “could create<br />
something with cachet that could be sold to<br />
architects and interior designers whose clients<br />
will pay a higher price for a substantial,<br />
enduring object.” He is confident that the<br />
ad valorum strategy will allow the Philippines<br />
to find a profitable market niche for themselves<br />
because, while he admits that others<br />
could copy these pieces, “there is less<br />
incentive in that market because it is so exclusive.”<br />
After visiting the Philippines and inspecting<br />
the manufacturing facilities there, Beylerian<br />
invited celebrity designers Gijs Bakker,<br />
Gregory and Judith Beylerian, Ed and Lor<br />
Calma, Clodagh, Tom Dixon, Doug Fitch, Paul<br />
and Barbara Haigh, Tom Hardy, Arik Lexy,<br />
Michele Oka Doner, Satyendra Pakhale,<br />
Karim Rashid, Shigeru Uchida, and Kevin<br />
Bamboo
Woven bamboo and foam by Satyendra Pakhalé<br />
Walz to participate in the project by designing<br />
modular building and decorative elements.<br />
Each designer received a kit containing<br />
such <strong>materials</strong> as abaca fiber, bamboo,<br />
saguing (banana plant fiber), coconut shell,<br />
lahar (pumice), and nito (a supple fern) and<br />
was asked to select at least one material to<br />
transform into something precious—hence<br />
the exhibition’s title.<br />
Clodagh has gained a reputaion for using<br />
sustainable <strong>materials</strong>, modern technology,<br />
and ancient techniques to create almost<br />
spiritually beautiful environments. She<br />
chose to work with abaca fiber, which is obtained<br />
from the leaf of a banana-like plant,<br />
for its exceptional strength, flexibility, and<br />
lustrous color palette. In her wall and ceiling<br />
panels, she capitalizes on the material’s<br />
naturally uneven fiber concentration to<br />
achieve different levels of transparency. For<br />
this designer, part of the excitement of being<br />
involved in the Transformations project<br />
was the hope that her product would be “a<br />
true commodity and create a work source to<br />
increase the prosperity of the Philippines.”<br />
Kevin Walz Clodagh David Rockwell<br />
Photo: © Jonathan Levine<br />
OF MATERIAL INTEREST<br />
9
OF MATERIAL INTEREST<br />
10<br />
Photo: © J. Alex Halderman<br />
Quilted banana fiber by Tony Gonzales<br />
Insert: The raw material
Photos: © Colleen Noonan<br />
Woven nito chair by Shigeru Uchida Woven seagrass chair by Karim Rashid<br />
Superstar interior designer Kevin Walz freely<br />
admits that he hadn’t paid much attention<br />
to bamboo until he chose to work with it for<br />
Transformations. Conventional treatments,<br />
he had found, tended to disguise or homogenize<br />
its natural properties, thus stripping<br />
it of its “vibrancy and life.” In his own three<br />
building products, he sought to preserve<br />
these qualities. Walz predicts great things<br />
for bamboo: “[It] will certainly outperform<br />
cedar as a siding material. Bamboo will take<br />
on a silvery richness once the sun hits it,<br />
which will bring a warm, rustic quality to the<br />
[building’s] surface.”<br />
Although intrigued by all the <strong>materials</strong> presented<br />
to them, the Rockwell Group settled<br />
on coconut shell, a material not usually associated<br />
with the design or architecture<br />
fields. Rockwell’s design, a coconut-chip<br />
screen, embraces variance and encourages<br />
variants. The Group can see altering<br />
the chips’ size, shape, and color, “while the<br />
curtain itself could appear in any length or<br />
width desired.” Moreover, a bamboo frame<br />
could quickly take the concept from curtain<br />
to cabinet.<br />
Most of the furniture items, floor and ceiling<br />
tiles, and screens developed through the initiative<br />
are still at the prototype stage, with<br />
testing needed to determine both levels of<br />
stability and environmental ratings (due to<br />
some of the resins used). However, having<br />
come this far, Beylerian is confident that<br />
testing and any necessary improvements<br />
can be made quickly: “Basically, our role<br />
thus far has been one of consulting and developing<br />
projects and we would now be happy<br />
to take the next step.” The exhibition’s<br />
reception at ICFF will inform the participating<br />
parties about the best ways to market<br />
and distribute the items. One line of furniture—benches,<br />
tables and stools designed<br />
by Karim Rashid—is already installed in the<br />
Semiramis Hotel, Athens, the location for<br />
which they were exclusively designed.<br />
From May 20 to 23, <strong>Material</strong> <strong>ConneXion</strong> will<br />
preview Transformations: Nature & Beyond<br />
at the International Contemporary Furniture<br />
Fair, NYC. By highlighting the sophistication<br />
of natural <strong>materials</strong>, the Transformations<br />
exhibit will undoubtedly generate interest in<br />
the Philippine marketplace. It is also expected<br />
to inform other <strong>materials</strong>-rich countries<br />
about <strong>Material</strong> <strong>ConneXion</strong>’s ability to open<br />
up <strong>new</strong> and vital markets globally.<br />
OF MATERIAL INTEREST<br />
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OF MATERIAL INTEREST<br />
12<br />
INTERVIEW<br />
Sandy Chilewich and George Beylerian are both entrepreneurs who are<br />
driven by a love of <strong>materials</strong>. They met at <strong>Material</strong> <strong>ConneXion</strong> to talk<br />
about how they turn creative inspiration into business success.<br />
GB: Before you had Chilewich, you had already<br />
gained a name and reputation with the hosiery<br />
company, HUE. But first you were trained as a<br />
jewelry designer?<br />
SC: I wasn’t trained at anything.<br />
GB: Just like me! I know nothing about <strong>materials</strong>.<br />
SC: I know nothing about <strong>materials</strong> either!<br />
[laughter]<br />
GB: How did you get into textiles, then?<br />
SC: You know, I thought I was an artist. I never<br />
graduated from college. I was very confused,<br />
but I always did artwork.<br />
GB: You created things.<br />
SC: Yes. I remember going into one gallery and<br />
the guy—in the nicest way—said, “You know,<br />
I think your stuff is very commercial.” At the<br />
time, I thought that was the biggest insult. I<br />
cried! He didn’t mean it as a criticism, but I<br />
thought all right, that’s the end of that career.<br />
GB: What were you showing him?<br />
SC: Collages. I was also doing sculpture with<br />
Plexiglas, and there were these beaded things<br />
going on in there. So I started to design jewelry—again,<br />
I had no background so there was<br />
beading but no soldering. But I started to sell at<br />
Bendel’s and Bloomingdale’s.<br />
I lived in Noho at that time (1976). There was<br />
another woman [in my building] who was an<br />
art teacher. You know those black canvas<br />
Mary Jane Chinese slippers? They had them<br />
only available in black at that point. We had just<br />
been drinking wine and we thought, wouldn’t it<br />
be great to make them in color? And she had<br />
some bleach and some Tintex, and we were<br />
drunk and we bleached the shoes out and we<br />
died them. We thought, “Oh this looks pretty<br />
cool!” (It was, like, fuchsia.) So we did a bunch<br />
of them, and at the next building meeting every<br />
girl who walked in said “Oh my God, where did<br />
you get these?”<br />
So I had an appointment with Vogue to show my<br />
jewelry. I went in with the shoes and the jewelry.<br />
They punted the jewelry and then they said “Oh<br />
my God!” and they go into Grace Mirabella’s office<br />
and she comes out herself and says, “Oh my<br />
God, we’re doing a shoot in Sardinia and we need<br />
these colors in size ten. We’re leaving on Monday<br />
morning can you do it?” This was on a Friday.<br />
And we say, “Yeah, yeah, yeah, yeah.” But these<br />
shoes are all teeny because they come from<br />
China town. To find size ten in China town, we<br />
had to get cartons of forty and throw away three<br />
quarters of it for the eights, nines, and tens, and<br />
then we had to duplicate the colors that we did<br />
like soups: eggplant, mustard…. We gave them up<br />
wet on Monday and off they went. We didn’t know<br />
what the hell we were doing.<br />
When they came back they said, “These look fabulous.<br />
We’re doing a full-page spread. What’s the<br />
name of your company and who do you sell to?”<br />
We had no idea what they meant, that we had to<br />
sell to somebody. We were really naïve. We went<br />
to Bergdorf’s and said, “We’re going to get this<br />
two-page spread in Vogue do you want to buy<br />
some of these? And the name of the company is<br />
Shoes by Kathy and Sandy.” It was phenomenal.<br />
We had washing machines going day and night.<br />
All we’d done was we took a commodity that was<br />
only available in one color and we offered it in<br />
many colors.<br />
Chilewich<br />
of<br />
GB: That’s like my success story with plastics.<br />
Courtesy<br />
In those days plastics were red, blue, yellow,<br />
green…and then people got tired of that. One Photos:
of my sales reps in Chicago told me “You know<br />
George, I think people are getting tired of these<br />
colors.” (He was very sophisticated.) “What<br />
about something like dusty rose?” he said.<br />
Dusty rose was an exotic color to use. We all<br />
looked at him and laughed. And I said “What<br />
about periwinkle!” So we had periwinkle and<br />
then we had another color, jade green. Before<br />
you know it, we had a <strong>new</strong> product.<br />
SC: That was right when color was just beginning,<br />
when t-shirts were first being offered in<br />
25 colors.<br />
GB: How did the transition go from shoes to<br />
tights?<br />
SC: Well the editors kept asking us “What other<br />
things do you do?” And so we thought about<br />
what else we could offer a lot of colors in. One<br />
of the things we bought were cotton nurse’s<br />
stockings. They got a great reaction, and we<br />
were asked whether we could do the same for<br />
tights. So we went down South and we really<br />
started to play on the machines. At that point,<br />
there was really only one other company that<br />
was doing anything even remotely interesting<br />
and they were taking bulky socks and making<br />
them colorful. We were doing something more<br />
feminine, and we were the first people to make<br />
a cotton core-spun so that it would stretch.<br />
From just a business perspective we realized<br />
that we couldn’t do everything; so we dropped<br />
the shoes. There was such a big market for legwear.<br />
GB: Organizing that was such a big job, from nowhere<br />
to become a major, influential company!<br />
SC: Yeah, but you know I owned HUE for 16<br />
years, so that was a long process to build it up<br />
to the established brand that it still is. I think I<br />
kind of stumbled on that process. I didn’t start<br />
out thinking that I wanted to become a hosiery<br />
designer. I went jewelry to shoes to hosiery.<br />
Once I sold HUE, sales were grossing $40 million.<br />
Then I had this concept for making the textile<br />
baskets, the Ray Bowls. I did have that idea<br />
in my head of making the basket and of using<br />
the hosiery material, the stretch mesh. Once<br />
that was made, I had another idea and that’s<br />
why I came to <strong>Material</strong> <strong>ConneXion</strong>. I wanted to<br />
take solid vinyls and weave them, sort of like in<br />
50s junky chairs.<br />
I didn’t know where to look to find this vinyl. But<br />
you guys had just opened. When I came here I<br />
found Phifer and it was way more interesting as<br />
a product than what I had expected, which was<br />
OF MATERIAL INTEREST<br />
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OF MATERIAL INTEREST<br />
14<br />
just solid vinyl. So I started pursuing them.<br />
GB: What was Phifer’s reaction when you came<br />
to them?<br />
SC: You know, it was amazing. I went down and<br />
was just buying off of their line. From their line<br />
I was making placemats and bags and I backed<br />
it in this rudimentary way as floor mats, and I’d<br />
already started selling a little bit. I brought it all<br />
down there and It was great and we really bonded.<br />
Not that I was making them much money at<br />
that stage in the game, but I think they were<br />
flattered that I could take their <strong>materials</strong> and do<br />
something with it.<br />
GB: That’s the difference between big-time industrialists<br />
who have mono-vision and someone<br />
like you. You are the perfect entrepreneurial person.<br />
Your entrepreneurship is based on <strong>materials</strong><br />
and development.<br />
SC: The artistic end is vital to me; nevertheless,<br />
the commercial viability is equally critical. When<br />
I first introduced the Ray Bowl, I was in the store<br />
counting how many they’d sold on a daily basis<br />
because I k<strong>new</strong> that if it didn’t come across in retail,<br />
it wasn’t going to work. I don’t consider myself<br />
an artist but I am artistic and I like to make<br />
as few design compromises as possible, but<br />
if it doesn’t work with the consumer then I am<br />
not a businessperson. It ultimately has to make<br />
money. That’s not everybody’s cup of tea. But if<br />
you’re going to go that route, then you have to<br />
test your product.<br />
GB: I think what’s important here is the sense of<br />
<strong>materials</strong> as a key source of inspiration. It’s the<br />
material that drives you to do things rather than<br />
the other way round.<br />
SC: Yes, I look at <strong>materials</strong> and ask myself, “What<br />
else could this material be?”
BEST OF SHOW<br />
Once a month, an interdisciplinary team of experts from a variety of design related<br />
fields come together to select <strong>new</strong> <strong>materials</strong> for the library. Out of the forty <strong>materials</strong>,<br />
juried monthly, one is chosen as the Best of Show. According to Dr. Andrew Dent, our<br />
Vice President of Library and <strong>Material</strong> Research, who moderates the jury sessions, a model material<br />
is innovative, eco-friendly, technologically advanced, and has many possible applications.<br />
Here, we have highlighted three of the most recent Best of Show <strong>materials</strong>.<br />
Contact information for the manufacturers of the <strong>materials</strong> on these pages is available in<br />
<strong>Material</strong> <strong>ConneXion</strong>’s online library database www.materialconnexion.com. Refer to the MC#.<br />
For information on how to become a subscriber e-mail us at access@materialconnexion.com.<br />
Polymer: D30<br />
MC# 5536-01<br />
Moldable resin that stiffens<br />
on impact. The technology<br />
harnesses dilatancy, the property<br />
ascribed to a substance<br />
that flows when moved slowly<br />
but that stiffens when moved<br />
quickly (similar to cornstarch<br />
in water). The resin is molded<br />
into flexible, elastic sheets<br />
that are designed predominantly<br />
as protective padding<br />
in sportswear.<br />
Natural: Particle Board<br />
from Natural Waste<br />
MC# 5496-01<br />
Resin-impregnated, natural fiber<br />
sheet that utilizes waste<br />
<strong>materials</strong>. The rigid panels incorporate<br />
Vetiver grass, rice<br />
husk, wood chips, lemon grass,<br />
or orange skin in an 8% polymeric<br />
dipheylmethane diisocyanate<br />
adhesive (PDMI) matrix.<br />
The sheets comply with standard<br />
particleboard in strength,<br />
screw pullout, water resistance<br />
and surface roughness.<br />
Process: Polymer Chain Mail<br />
MC# 539001<br />
Automated injection-molding<br />
process that manufactures<br />
seamless, interlinked<br />
elements. This mesh may<br />
be manufactured from most<br />
thermoplastic <strong>materials</strong> including<br />
polypropylene (PP),<br />
polyethylene (PE), and polycarbonate<br />
(PC). Potential<br />
applications include exterior<br />
facades, drapes, seating, or<br />
lampshades.<br />
STATE OF THE ART<br />
15
16<br />
<strong>48</strong> NEW MATERIALS<br />
MC# 0027-03<br />
MC# 4207-02<br />
MC# 5510-01<br />
MC# 5514-01<br />
MC# 5517-01<br />
MC# 5519-01<br />
Highly transparent polymer<br />
sound barrier for exterior<br />
use. 100% acrylic (PMMA)<br />
is cast into clear sheets that<br />
incorporate polyamide threads<br />
to guard against explosive<br />
shattering. Comes with a<br />
10-year weathering guarantee.<br />
For exterior sound abatement<br />
along transport lines.<br />
Cast resin sheet with a “double<br />
layer” effect. This 100% acrylic<br />
(PMMA) sheet is cast as one<br />
piece, with the two dissimilar<br />
sections formed at the same<br />
time, thus eliminating any<br />
chance of delamination. Available<br />
in sheets of 8 x 4 ft (2.44<br />
x 1.22 m) and in six colors.<br />
Sublimation process that<br />
combines digital printing<br />
with high-temperature<br />
image transfer to print high<br />
resolution graphics onto<br />
a wide variety of surfaces,<br />
from glass and concrete<br />
to high-pressure laminate.<br />
Appropriate for promotional<br />
displays, interior design, and<br />
architecture.<br />
Cellulosic matrix impregnated<br />
with polyester resin<br />
for cost-effective cooling and<br />
humidification. When hot,<br />
dry air passes at a relatively<br />
low speed through the wet<br />
matrix, it is cooled and humidified.<br />
Applications include<br />
greenhouses and open air<br />
structures.<br />
Durable, crocodile-textured<br />
linoleum. The flexible sheets<br />
are made of natural <strong>materials</strong><br />
calendared onto jute<br />
or paper backing. Class B1<br />
according to DIN 4102. Appropriate<br />
for commercial and<br />
residential settings.<br />
Rigidized metal sheet.<br />
Hydroforming imparts regular<br />
square forms or other shapes<br />
onto metal sheets. These<br />
sheets are staggered and<br />
glued together back to back to<br />
create one highly stiff sheet.<br />
Applications include dividing<br />
panels, work surfaces, and<br />
electromagnetic shielding.<br />
MC# 0091-15<br />
MC# 5508-01<br />
MC# 5513-01<br />
MC# 5516-01<br />
MC# 5518-01<br />
MC# 5520-01<br />
High-pressure laminates<br />
(HPL’s) with a textured<br />
surface. Decorative paper<br />
impregnated with melamine<br />
is pressed with kraft paper<br />
impregnated with phenolic<br />
resin at high pressure to<br />
produce laminates with high<br />
hardnesses.<br />
Rigid textured aluminum<br />
tiles for interior flooring. The<br />
tiles are anodized to impart<br />
a durable UV resistant color.<br />
The textured top surface may<br />
receive a clear coating to<br />
ensure good slip and scratch<br />
resistance. Custom sizes, thicknesses,<br />
colors and finishes are<br />
available on request.<br />
Faux stone surface that<br />
can be worked like wood.<br />
Mineral particulates in a<br />
resin binder are adhered<br />
to a rigid substrate that<br />
may be MDF, aluminum,<br />
Alucobond, particleboard or<br />
other construction material<br />
substrates. Applications are<br />
wall surfaces, event design<br />
elements, and furniture.<br />
A process for generating<br />
highly detailed decorative<br />
and functional surface structures<br />
using 3-D rendering<br />
software and rapid prototyping.<br />
This software improves<br />
upon the existing capabilities<br />
of shaders, making it possible<br />
to impart a highly detailed<br />
surface texture.<br />
Solid surfacing from 100%<br />
post consumer recycled<br />
paper. Waste paper pulp is<br />
mixed with a non-petroleum<br />
phenolic resin to produce a<br />
rigid, hard, durable solid surfacing<br />
sheet. The slabs come<br />
up to 60 in x 12 ft (1.524 x<br />
3.66 m) with thicknesses of<br />
1/4 to 2 in (6.35 to 51 mm).<br />
Tactile decorative wall covering.<br />
These wallcoverings use<br />
a special effect fleece surface<br />
on a non-woven backing.<br />
They are dimensionally<br />
stable, Class B1 according to<br />
DIN 4102 (Class 1 according<br />
to ASTM E-84). For use in<br />
commercial interior applications.
Contact information for the manufacturers of the <strong>materials</strong> on these pages is available in <strong>Material</strong> <strong>ConneXion</strong>’s<br />
online library database www.materialconnexion.com. Refer to the MC#. For information on how to become<br />
a Library User e-mail us at access@materialconnexion.com.<br />
MC# 5522-01<br />
Perforated rubber sheet for<br />
fashion and interior design<br />
applications. Thin, durable,<br />
black rubber sheet is perforated<br />
in a range of patterns<br />
to create a flexible, durable,<br />
elastic, and tear-resistant<br />
sheet. Currently available<br />
only in black. For apparel<br />
and interiors.<br />
MC# 5528-01<br />
3D graphics that can be applied<br />
to various substrates.<br />
This printing technique<br />
goes beyond lenticulars by<br />
allowing the placement of<br />
flat graphics over kinetic<br />
3D graphics to further create<br />
the illusion of depth.<br />
MC# 5532-01<br />
Ceramic tiles that incorporate<br />
unique textured surfaces<br />
for decorative effect.<br />
Nine distinct topographical<br />
surfaces are created on<br />
glazed ceramic tiles for<br />
interior applications. The<br />
tiles come in matte, glossy,<br />
and extra glossy finishes.<br />
MC# 5535-01<br />
Electroluminescent polymer<br />
sheet that offers greater<br />
flexibility than existing types,<br />
due to the usage of printable<br />
polyurethane in conjunction<br />
with other inks. These sheets<br />
may be used as backlighting<br />
for cell phones, as safety<br />
lighting in backpacks and<br />
wearables, and in novelty<br />
gear.<br />
MC# 5537-01 MC# 1949-07 MC# 5358-02 MC# 5<strong>48</strong>5-01<br />
A process for powder coating<br />
plastics that offers an<br />
alternative to liquid painting<br />
or inherent coloring.<br />
It works by applying dry,<br />
pigmented powder onto<br />
a substrate via a charged<br />
particle stream and<br />
charged substrate. The part<br />
is then baked in an oven.<br />
MC# 5491-01<br />
Laminated glass sheet<br />
that converts electricity to<br />
radiant heat. Two sheets of<br />
glass sandwich a consuctive<br />
polymer film to creat<br />
a clear panel. Its maximum<br />
service heat is approximately<br />
70°C (158°F).<br />
A high-definition printing<br />
process for coloring carpet.<br />
Using a proprietary technique,<br />
pattern is created<br />
through selective bleaching<br />
of the color. The modular<br />
tile is tufted, textured, loop<br />
pile nylon 6,6 and backed<br />
with a PVC-free cushion.<br />
For interior contract<br />
flooring.<br />
MC# 5492-01<br />
Custom perforated metal<br />
sheets for a wide range of<br />
applications. Aluminum,<br />
plain carbon and stainless<br />
steel, titanium zinc or brass<br />
sheets are perforated with<br />
round or square holes in<br />
any pattern or size.<br />
A process for custom<br />
manufacturing woven<br />
security mesh for containers<br />
and bags. Copper wire is<br />
sheathed in 100% polyvinyl<br />
chloride (PVC) and knit into<br />
1200 mm (47.2 in) wide textiles.<br />
The mesh is connected<br />
to a continuous current<br />
circuit so that if one section<br />
of the wire is cut, the circuit<br />
shorts and an alarm sounds.<br />
MC# 5477-01<br />
Leather produced using<br />
organic farming, handling,<br />
and tanning techniques.<br />
The hides are tanned using<br />
vegetable dyes and kept<br />
separate from any nonorganic<br />
hides. The company<br />
produces a range of qualities<br />
and thicknesses as well<br />
as suede and Nubuck.<br />
House insulation made<br />
from dried sea grass that<br />
has been harvested as<br />
bio-waste. This insulation<br />
is durable, does not attract<br />
parasites, has good absorption,<br />
and acts as a humidity<br />
buffer. It is supplied in bags<br />
and complies with B2 fire<br />
retardance according to<br />
DIN 4102-2.<br />
MC# 5<strong>48</strong>7-01<br />
Structural sheet steel that<br />
incorporates fine spacer filaments<br />
to achieve strength<br />
with lightness. This stainless<br />
steel sheet comprises two<br />
outer thin sheets that are<br />
separated with a regular array<br />
of thin wires orthogonal<br />
to the sheet orientation.<br />
Applications include aircraft,<br />
electronics, and sports<br />
equipment.<br />
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18<br />
<strong>48</strong> NEW MATERIALS<br />
MC# 5474-01<br />
Flooring made from<br />
recycled bicycle inner tubes.<br />
This handmade, handloomed<br />
100% recycled rubber<br />
rug is made by looping<br />
recycled bicycle tubes and<br />
weaving them into 100%<br />
wool backing. The pile<br />
height is 35 mm (1.4 in) and<br />
the rug is 170 x 240 cm (67<br />
x 94.5 in).<br />
MC# 5472-01<br />
Removable vinyl wall decals<br />
for interior and exterior<br />
applications. These die-cut,<br />
100% polyvinyl chloride<br />
(PVC) decals incorporate<br />
a removable adhesive that<br />
will affix to any smooth,<br />
flat surface. The decals are<br />
available in more than 50<br />
colors and 35 patterns.<br />
MC# 5359-05<br />
Rigid melamine sheets that<br />
incorporate a decorative<br />
layer. These low-cost, formaldehyde-free<br />
panels are<br />
manufactured from 55%<br />
melamine resin, 40% cellulose,<br />
and 5% cloth. The<br />
melamine paper surface<br />
has a hand-painted design.<br />
MC# 5497-02<br />
Metal sheet that has been<br />
slit and expanded to create<br />
a mesh of uniformly spaced<br />
openings. These hot-dip<br />
galvanized or chromiumplated<br />
milled steel forms<br />
are rigid, though they may<br />
be curved and bent according<br />
to needs.<br />
MC# 5<strong>48</strong>6-01<br />
This stainless steel “chainmail”<br />
has been developed<br />
with a ring diameter of 12.0<br />
mm (0.472 in) with a wire<br />
gauge of 1.10 mm (0.043<br />
in). Applications are for<br />
safety fences, blast protection<br />
for buildings, interior<br />
drapery, and other interior<br />
and exterior architectural<br />
accents.<br />
MC# 5436-01<br />
Insulating tubing that<br />
shrinks when heated. Polyvinyl<br />
chloride (PVC) tubing<br />
shrinks when heated,<br />
proving a protective and insulating<br />
coating for objects<br />
of various shapes. Applications<br />
include insulation for<br />
wiring as well as protective,<br />
waterproof coatings for any<br />
object.<br />
MC# 5498-01<br />
Decorative glass sheet that<br />
incorporates an interlayer<br />
of resin and textile. Textiles<br />
are laminated between<br />
the glass sheets using a<br />
polyvinyl butyral (PVB)<br />
layer. Customization of the<br />
decorative layer is possible.<br />
The sheets may be curved.<br />
Natural fiber rug that has<br />
a deep pile height. These<br />
100% New Zealand wool<br />
rugs are woven using felted<br />
wool loops in ten patterns<br />
with a pile height of up to<br />
2 3/4 in (70 mm). They are<br />
backed with a woven jute<br />
and cotton mat. They are<br />
woven 12 ft (3.66 m) wide.<br />
MC# 5503-01<br />
MC# 4791-03 MC# 5091-04<br />
MC# 5438-01<br />
Non-stick enamel coating<br />
that offers higher temperature<br />
resistance than<br />
existing non-stick surfaces.<br />
Porcelain and PTFE enamel<br />
that is bonded to metal.<br />
The coatings are typically<br />
used as an ultimate-quality,<br />
highly durable, and sanitary<br />
finish on appliances.<br />
Sheets of decorative glass<br />
tiles secured by a polymer<br />
grid. These mosaics are<br />
created by cutting squares<br />
of clear float glass and<br />
coating one surface with<br />
a colored layer of paint.<br />
They are then adhered to a<br />
flexible backing of PVB that<br />
holds them perpendicular<br />
to and equidistant from<br />
each other.<br />
Structural building panels<br />
that utilize a formaldehydefree,<br />
soy-based binder.<br />
These building panels are<br />
comprised of one of four<br />
core <strong>materials</strong>, faced in veneer.<br />
The wheat straw fiber<br />
is annually re<strong>new</strong>able and<br />
was historically considered<br />
to be agricultural waste.<br />
MC# 5441-01<br />
Additives to paints, inks,<br />
resins, and coatings that<br />
“tag” the material with<br />
a unique code. These<br />
microtaggants are a unique<br />
numeric code sequence<br />
in a multiple colored layer<br />
format. Applications are<br />
for security tagging of<br />
packaging, products, and<br />
written data.
Contact information for the manufacturers of the <strong>materials</strong> on these pages is available in <strong>Material</strong> <strong>ConneXion</strong>’s<br />
online library database www.materialconnexion.com. Refer to the MC#. For information on how to become<br />
a Library User e-mail us at access@materialconnexion.com.<br />
MC# 5442-01<br />
MC# 5444-01<br />
MC# 5446-01<br />
MC# 5453-01<br />
MC# 5463-01<br />
MC# 5462-02<br />
A two-step sublimation<br />
printing process in which a<br />
substrate is printed with sublimation<br />
dyes. Then dry heat<br />
and pressure are applied to<br />
the paper so that the image<br />
is dyed into the substrate<br />
surface. For printing onto any<br />
hard solid surfacing material.<br />
Coating that contains an iron<br />
filler for wood and woodbased<br />
surfaces. This flameretardant<br />
filler composed of<br />
ferro-magnetic particulates<br />
and a bonding agent can<br />
be applied to wood or wood<br />
composite surfaces.<br />
Pultruded composites that<br />
use carbon fiber roving<br />
for strength. These rigid<br />
profiles are produced using<br />
unidirectional fiber roving,<br />
which provides longitudinal<br />
strength. Applications<br />
include aerospace structural<br />
profiles, racing car profiles, in<br />
bridge construction, and for<br />
molded parts.<br />
Wool textiles with various<br />
3-dimensional patterns.<br />
These textiles are handmade<br />
from 100% wool felt and<br />
woven. Patterns are created<br />
by twisting and/or stitching<br />
different pieces of fabric<br />
together. The textiles are sold<br />
by the square meter and are<br />
available in a standard range<br />
of colors and textures.<br />
Polymer mosaic squares<br />
and discs for interior wall<br />
and counter surfaces. These<br />
100% polyester (PET) colored<br />
chips are an alternative<br />
to glass or ceramic and are<br />
offered in 80 basic and 26<br />
marble colors.<br />
Woven fabric that incorporates<br />
cotton fiber and<br />
yarn for decorative effect.<br />
Bunches of cotton fibers are<br />
woven in parallel lines into<br />
un-colored cotton to create<br />
fabric that is 500, 600,<br />
700, 800, or 900 cm (19.68,<br />
23.62, 27.56 31.5 or 35.4<br />
in) wide.<br />
MC# 5443-01<br />
MC# 4108-02<br />
MC# 5452-01<br />
MC# 5462-01<br />
MC# 5464-01<br />
MC# 5467-01<br />
Concrete-like composite material<br />
that incorporates sand<br />
and household waste plastic.<br />
75% silica sand and 25%<br />
mixed polymer regrind from<br />
recycling plants are bonded<br />
together using heat (300°C;<br />
572°F) and pressure. Any<br />
extruded or molded shape is<br />
possible.<br />
A rapid prototyping process<br />
for creating thermoplastic<br />
three-dimensional models. A<br />
software program (generating<br />
an .stl file) first “slices”<br />
the object into thin layers.<br />
Then a computer-aided<br />
design (CAD) file controls the<br />
laying down of thermoplastic<br />
material in thin layers according<br />
to the .stl file.<br />
Electrically conductive,<br />
low-weight, high-strength,<br />
flexible Zylon® (polyphenylene<br />
bisoxazole, PBO)/metal<br />
hybrid yarn. Applications<br />
include EMI shielding,<br />
aerospace, computing, and<br />
electronic textiles.<br />
Woven decorative textile<br />
that incorporates an herb<br />
for fragrance. The woven<br />
paper is 90% herb (warp)<br />
and 10% cotton (weft), with<br />
widths 500, 600, and 700<br />
mm (19.68, 23.62, and 27.56<br />
in). No chemicals are used to<br />
create the fragrance.<br />
Handmade floor and wall<br />
covering that uses rope-like<br />
tendrils to create a thick<br />
pile. This 20% sisal, 80%<br />
cotton woven rug is glued<br />
to a mesh backing to ensure<br />
solidity. The rugs may be<br />
waterproofed.<br />
Pile fabrics that mimic fur.<br />
These 100% acrylic or 100%<br />
polyester textiles are available<br />
jacquard or loop knit;<br />
yarn, drop, or fiber dyed, and<br />
with a pile length of 5-100<br />
mm (0.2 – 3.94 in). Available<br />
in flame-retardant, waterrepellent,<br />
anti-bacterial, and<br />
anti-odor versions and in a<br />
wide range of colors.<br />
19
you make the choice.<br />
Zambaiti<br />
PCF Natural Living line<br />
NatureWorks ® PLA glasses<br />
Heimtextil Creative Gallery<br />
ADVERTISEMENT<br />
NatureWorks LLC, the first company to offer a family of commercially<br />
available polymers derived from 100% annually re<strong>new</strong>able<br />
resources (marketed under the NatureWorks ® PLA brand for<br />
packaging applications and Ingeo fibers for textile products),<br />
is proud to participate in <strong>Material</strong> <strong>ConneXion</strong>’s Terra Matter<br />
program, a key event coinciding with Ingeo Earth Month.<br />
A revolutionary biopolymer,<br />
NatureWorks ® PLA is the world’s<br />
first greenhouse gas neutral<br />
polymer 1 . It is the base resin<br />
used to create a <strong>new</strong> breed of<br />
compostable packaging solutions<br />
such as service trays, cutlery, and<br />
water bottles. It is also the basis for<br />
Ingeo fiber, from which a range of<br />
<strong>new</strong>, high-performance alternatives<br />
to both wovens and nonwovens<br />
for apparel and home is made.<br />
Our partners are committed<br />
to nurturing and developing<br />
responsible and innovative<br />
products that are beautiful to touch<br />
and wear and that often outperform<br />
the competition. Together with<br />
NatureWorksLLC, they are<br />
participating in Ingeo Earth Month<br />
2006.<br />
April 22 nd is United Nations Earth<br />
Day, a time when we can all<br />
reflect on global environmental<br />
issues. It marks the launch<br />
of Ingeo Earth Month,<br />
Armani Collezioni shirt<br />
which will continue until May<br />
31 st . During this period, our retail<br />
and brand partners will take the<br />
opportunity to showcase their very<br />
best Ingeo fiber products and to<br />
demonstrate their commitment to<br />
the message and motivation behind<br />
Ingeo Earth Month. In 2006, 54<br />
brands will participating by selling<br />
a wide variety of products for the<br />
home, the wardrobe, and even for<br />
personal care in at least 650 stores<br />
worldwide.<br />
For more details on what is<br />
happening, or on products,<br />
partners, and point of sale, visit<br />
www.ingeofibers.com.<br />
One key event that we are involved<br />
with during Ingeo Earth Month is<br />
<strong>Material</strong> <strong>ConneXion</strong>’s symposium,<br />
Terra Matter: Inspire, Innovate,<br />
Sustain, which promotes a<br />
message of responsible innovation.<br />
It will be presented May 19 th at the<br />
Equitable Center and May 20 th at<br />
the International Contemporary<br />
1 Based on the purchase of re<strong>new</strong>able energycertificates by NatureWorksLLC<br />
*Compostable in industrial composting facilities where available
enjoy the difference.<br />
Univisio duvets Roda cushion<br />
NaturAll Baby Wipes by W.I.P.<br />
Aquavibe bio-energetic living water<br />
how it’s made<br />
“Ingeo” means ingredients from<br />
the earth, and is derived entirely<br />
from more sustainable agricultural<br />
resources like corn. In other words,<br />
it begins with an abundant, natural<br />
raw material that can be easily and<br />
efficiently produced year after year.<br />
The extracted starch is put through<br />
a simple process to make plant<br />
sugars. The sugars are fermented in<br />
a process similar to making yogurt.<br />
Then the fermentation products are<br />
transformed into a high-performance<br />
polymer called polylactide, which<br />
is branded NatureWorks® PLA.<br />
Ingeo fiber is extruded from this<br />
polymer.<br />
ADVERTISEMENT<br />
Furniture Fair, both in New York City.<br />
At Terra Matter, Natureworks LLC will<br />
present its mission for sustainability<br />
and invite selected partners to share<br />
their own experiences. The central<br />
expression of the project will be an<br />
exhibition titled Live the dream, the<br />
future of sustainable living, where<br />
attendees will be able to experience<br />
eco-friendly products for themselves.<br />
Ingeo fiber will be featured in the<br />
exhibition through the presentation<br />
of the Ingeo Creative Gallery, a<br />
showcase demonstrating the diversity<br />
of commercially available applications,<br />
with cutting edge fashion from<br />
Boudicca, Linda Loudermilk, Armani,<br />
Moral Fervour and naturevsfuture®.<br />
For the home, try pillows from Pacific<br />
Coast Feather, blankets from Zambaiti<br />
and Univisio, and also the <strong>new</strong><br />
generation of diposable nonwovens<br />
from HealthQuest’s “Earth friendly<br />
baby ® ” wipes, and diapers from W.I.P.,<br />
as well as the first official Ingeo Earth<br />
Month water from Aquavibe in a <strong>new</strong><br />
bottle created from NatureWorks ® PLA<br />
and much more.<br />
This exhibition will be held at the<br />
<strong>Material</strong> <strong>ConneXion</strong> headquarters in<br />
New York City, running from April 27th<br />
through August 1st 2006.<br />
Ingeo, the only fiber made from 100% natural, annually re<strong>new</strong>able agricultural resources. Not oil.<br />
Ingeo, the Ingeo logo and NatureWorks are registered trademarks of NatureWorks LLC<br />
Boudicca<br />
Linda Loudermilk<br />
naturevsfuture ®
MATERIAL PROFILE<br />
22<br />
16<br />
MATERIALS AT EXTREME TEMPERATURES<br />
by Dr. Andrew Dent<br />
Broken completely in half, this Liberty Ship was subject to catastrophic<br />
brittle fracture in the cold waters off the shores of Maine, New England.<br />
Objects generally appear still and coherent,<br />
but the molecules they’re made of vibrate. At<br />
hotter temperatures they vibrate like crazy,<br />
and might even move about; at colder temperatures,<br />
they vibrate hardly at all. For all <strong>materials</strong>,<br />
transitioning from solid to liquid state<br />
(changing phase) just means that the molecules<br />
vibrate enough to break the bonds that<br />
hold them together; transitioning the other<br />
way means that the molecules slow their vibrating<br />
enough to form bonds. This is true for<br />
the molecules in polar-expedition lip balm as<br />
for those in the hot section of a jet engine.<br />
Simple as this seems, scientists have devoted<br />
careers to figuring out in detail how <strong>materials</strong><br />
behave at different temperatures. (To<br />
be precise, scientists are really interested<br />
not in temperature per se, but rather in the<br />
kinetic energy of a material, or how fast the<br />
molecules are vibrating.) This is because all<br />
<strong>materials</strong> react uniquely to energy.<br />
When trying to gauge which material is best<br />
for a certain temperature-sensitive application,<br />
we can rely on some rather intuitive rules<br />
of thumb—up to a point. For instance, when<br />
specifying <strong>materials</strong> for hot applications, use<br />
metals. (Caveat: The useable temperature<br />
for metals varies widely!) Even better are<br />
engineering ceramics, for which the maximum<br />
service temperature is more than 1800ºF. For<br />
temperatures below freezing, polymers are often<br />
a good choice, not least because they have<br />
low thermal conductivity: you can touch your<br />
tongue to a plastic pipe in winter and pull it<br />
away unscathed.<br />
However, if performance at a particular temperature<br />
is key to your <strong>materials</strong> problem, perhaps<br />
you will find the information below helpful.<br />
Glass Transition Temperature (T g )<br />
Roughly defined, a plastic’s glass transition<br />
temperature (T g ) is the temperature at which<br />
its chemical structure goes from crystalline to<br />
amorphous. When plastics experience temperatures<br />
below their T g , they become rigid and can<br />
crack and shatter, like glass. Polystyrenes and<br />
acrylic are typically used below their T g , thus<br />
they are hard and brittle. Elastomers and polyolefins,<br />
on the other hand, are used above their<br />
T g , thus they are softer and more flexible. T g is a<br />
very important property when specifying composites,<br />
predominantly because the polymer<br />
binder is relied upon for flexibility.<br />
Ductile to Brittle Transition Temperature (DBTT)<br />
In metals, a similar property, the ductile to brittle<br />
transition temperature (DBTT), appertains
to certain structures of metals. At this temperature,<br />
which is often the lowest temperature at<br />
which a structural engineering material can be<br />
considered useful, a metal will fail in a brittle<br />
manner rather than in a ductile manner. That<br />
is, it will shatter rather than bend before giving<br />
way. The DBTT is very sensitive to alloy composition<br />
and processing. This makes it a useful<br />
criterion for quality control.<br />
The notorious catastrophe that befell the World<br />
War II Liberty ships illustrates the importance<br />
of considering DBTT. When launched in cold,<br />
northern waters, the steel hulls of the Liberty<br />
ships split in half. Evidently a hapless engineer<br />
had forgotten that the DBTT of some steel<br />
roughly coincides with the freezing point of water.<br />
Of course, one person’s catastrophe is another<br />
person’s good fortune. Aristotle Onassis<br />
purchased these ships for a pittance and, with<br />
them, created a shipping empire. He k<strong>new</strong> that<br />
in warmer, equatorial waters, they were completely<br />
safe.<br />
<strong>Material</strong>s at elevated temperatures<br />
It is important to remember that the description<br />
“solid” is a relatively general term that<br />
Brittle fracture in steel. This micrograph of the fracture<br />
surface shows the cleavage along crystal planes that<br />
absorbs little energy.<br />
refers to a range of material behaviors. On<br />
their way to becoming liquids, some solid<br />
<strong>materials</strong> transition through a viscous,<br />
gooey state (e.g. molten magma). However,<br />
long before this solid to liquid transition<br />
happens, the material loses its mechanical<br />
performance. Aluminum melts at around<br />
1220ºF but is of little use in any structural<br />
application above 360ºF. Polymers behave<br />
similarly, with the softening point typically<br />
falling at 70% of their melting point. Exceptionally,<br />
the upper limits of ceramics’<br />
operating temperatures are much closer to<br />
their melting points.<br />
<strong>Material</strong>s at low temperatures<br />
Absolute zero (0 Kelvin [0K], -273.15ºC,<br />
-459.7ºF) is as cold as anything can get. At this<br />
temperature the molecules in an object cease<br />
to move. It is actually impossible to reach this<br />
temperature, though we’ve got within a few<br />
millionths of a degree. The coldest naturally occurring<br />
place we know of is deep space, a very<br />
chilly 3K. In fact, this slight temperature elevation<br />
above 0K is the best evidence we have that<br />
the Big Bang actually occurred.<br />
The most significant change in material properties<br />
at below-ambient (or below-room) temperatures<br />
is the increasing brittleness of the<br />
material, but there are also other properties<br />
that manifest very close to 0K.<br />
These include superconductivity (which you<br />
can read about in our last issue of matter) and<br />
superfluidity, a semiconductor-like property<br />
that results in the complete loss of viscosity.<br />
This creates impressive and somewhat mindboggling<br />
effects such as: When a superfluid is<br />
placed in an open container it will rise up the<br />
sides and flow over the top. And: If the fluid’s<br />
container is rotated from stationary, the fluid<br />
Ductile fracture in the same steel. Breakage at a higher<br />
temperature is ductile. This takes a lot more energy to break.<br />
The fracture surface shows plastic deformation of the steel.<br />
inside will not move relative to the container.<br />
(In the last case, the viscosity of the liquid is<br />
zero, so any part of the liquid or its container<br />
can move at any speed without affecting any of<br />
the surrounding fluid.)<br />
The best part about most <strong>materials</strong> is that they<br />
tend to perform in ways we like them to at the<br />
temperatures that humans like. Few <strong>materials</strong><br />
are helpful to humanity at 3000ºF, but then,<br />
how many situations do you need (or want to be<br />
around) that require that kind of temperature?<br />
That said, if we decide that Mercury is a viable<br />
place to colonize, then all bets are off.<br />
MATERIAL PROFILE<br />
17 23
MATERIAL PROFILE<br />
24<br />
SMART FABRICS<br />
The Next Generation<br />
by Dr. Cynthia Tyler<br />
Smart fabrics are gaining momentum as the<br />
technology finally makes it out of the laboratory<br />
and becomes relevant to a variety of industries<br />
where energy savings and human well being are<br />
important.<br />
The recent Intertech Smart Fabrics Conference<br />
in Miami Beach, Florida, was devoted to smart<br />
fabrics, <strong>materials</strong> that respond to or interact with<br />
electrical or environmental stimuli such as heat,<br />
humidity, UV, or pressure. The diverse audience<br />
included scientists and engineers from corporations,<br />
start-ups, and academia; textile companies<br />
seeking potential partners; investment banks<br />
and venture capital firms desiring to profit from<br />
this emerging field; product designers, and representatives<br />
from the military. For those of you<br />
who couldn’t make it, here are a few highlights.<br />
Phase Change <strong>Material</strong><br />
Textile Testing & Innovation LLC presented a<br />
durable salt hydrate phase change material. Its<br />
name may seem complicated, but this material<br />
could reduce gas consumption, a feat we can all<br />
appreciate.<br />
Phase change <strong>materials</strong> (PCMs) require a large<br />
amount of energy to change their state from<br />
solid to liquid. When solid PCMs turn liquid, they<br />
draw much more energy (or heat) out of their<br />
surroundings than do regular <strong>materials</strong>. Because<br />
they take heat away without soon becoming hot<br />
themselves, they have a cooling effect.<br />
Incorporating PCMs into cars’ seats, headliners,<br />
and instrument panels would reduce dependency<br />
on air conditioning systems, which use up a<br />
lot of gas. In the United States alone, the estimated<br />
savings are expected to exceed 522 million<br />
gallons of fuel per year. Cooling by PCMs<br />
should also be gentler on interior <strong>materials</strong>;<br />
in addition, PCMs insulate against sound.<br />
Simple. Elegant.<br />
Photo: © Sauquoit Industries, LLC.
Photo: © Textronics<br />
Photo: © Textile Testing Innovations, LLC<br />
Conducting Polymer<br />
Eeonyx debuted EeonTex, a conductive polymer<br />
(polypyrrole, PPY) coating applied to practically<br />
any textile, from Kevlar to Lycra. The coating<br />
has excellent adhesion, long term stability<br />
(confirmed with aging tests), and is insoluble in<br />
water, acids, and solvents. Applications for this<br />
product are wide reaching, from uniformly heating<br />
resistive heaters to surgical gowns (where<br />
electrostatic dissipation is important to prevent<br />
electromagnetic interference) to radar-shielding<br />
curtains and dynamic pressure sensors for custom<br />
shoe design.<br />
Etched Circuit<br />
Sauquoit Industries, LLC proudly demonstrated<br />
a working populated circuit with a functional<br />
buzzer and LED. The innovation? The circuit was<br />
etched onto fabric (the company markets this<br />
advance as CircuiteX). In a nutshell, here’s how<br />
it is made: a stencil is placed over a textile that<br />
contains silver-metallized fibers; only the noncircuit<br />
regions are etched. The result maintains<br />
the original hand of the textile, allowing it to be<br />
folded and draped.<br />
The technology conforms to existing printed<br />
circuit board manufacturing, and the final product<br />
is more flexible and cost effective than the<br />
currently available flexible circuits composed of<br />
Mylar® polyester film and copper foil.<br />
Engineers in the automotive and aerospace industries,<br />
who are always looking for ways to<br />
shave off pounds, should find CircuitexT intriguing.<br />
Sauquoit Industries is also currently partnering<br />
with companies that serve the medical<br />
and apparel industries.<br />
PCMs incorporated into a car seat<br />
NuMetrix Sports Bra<br />
Any woman who has worn a heart monitor<br />
chest strap will appreciate the comfort of the<br />
NuMetrix sports bra from Textronics, one of<br />
the first commercially available garments incorporating<br />
smart fabrics. A stretchy conductive fabric<br />
in the chest band accurately senses heart rate<br />
and a small, snap-in transmitter, removed during<br />
washing, sends data to a heart rate-monitoring<br />
watch. It can also communicate with some fitness<br />
machines with integrated monitoring devices such<br />
as treadmills and elliptical trainers. A man’s T-shirt<br />
is planned for this year.<br />
SmartShirt<br />
Sensatex presented SmartShirt, a T-shirt that<br />
knows whether you’re breathing, walking, standing,<br />
or have fallen…or are even alive (it senses<br />
heart beat as well). The soft, washable T-shirt is<br />
woven through with a conductive fiber grid composed<br />
of woven optical and metal fibers. Information<br />
is relayed wirelessly for remote analysis.<br />
Not surprisingly, the technology was originally<br />
developed by researchers at the Georgia Institute<br />
of Technology with funding from the Defense<br />
Advanced Research Projects Agency to monitor a<br />
soldier’s location and send vital signs to medics. It<br />
also has obvious relevance to first response teams<br />
and managed and infant care facilities. Sensatex<br />
will soon release a beta commercial version to collect<br />
research data. A commercial product launch<br />
is planned for late 2006.<br />
PowerPlastic<br />
PowerPlastic, currently under development by<br />
Konarka Technologies, is a low-cost, lightweight,<br />
flexible polymer photovoltaic (PV) material that<br />
promises to make solar power even greener: it is<br />
free from the toxic chemicals cadmium and gallium,<br />
unfortunately present in other PVs. Furthermore,<br />
it can be printed upon, and, compared<br />
to silicon PVs, it offers greater light sensitivity<br />
resulting in higher power density. Built-in power<br />
generation capability shouldn’t be too far off.<br />
True, the conversion efficiency is below average<br />
(7.5% compared to 12%, with some PVs as high<br />
as 20%). Hopefully further research will quickly<br />
close that gap.<br />
Even as it is, PowerPlastic opens up many <strong>new</strong><br />
product opportunities: camouflage military uniforms<br />
or tent <strong>materials</strong>, backpacks and handbags<br />
with logos, awnings, shades or glass films for windows,<br />
cell phones with built-in power generation,<br />
and PVs for roofs with the appearance of shingles.<br />
This is an exciting green development.<br />
MATERIAL PROFILE<br />
25
IN THE MATERIAL WORLD<br />
26<br />
TRANSPARENT<br />
SUSTAINABILITY<br />
by Lindsey Clark<br />
The sustainability movement has long struggled<br />
with an identity crisis of sorts; call it granola, hippie,<br />
or any other pejorative 70s-reference that<br />
comes to mind. But with the growing availability<br />
of eco-friendly <strong>materials</strong>—not to mention their<br />
lowered cost, relative price stability, and improved<br />
performance—products, apparel, buildings, and<br />
the other stuff in our lives can now be green while<br />
appearing free from a restrictive environmental<br />
agenda. In this sense, sustainability, as perceived<br />
by the average person, is becoming increasingly<br />
transparent. And this is good <strong>new</strong>s, because as<br />
much as the average consumer cares about sustainability,<br />
he or she probably wants to balance<br />
that concern against others, like function, cost,<br />
and style, none of which are superficial.<br />
Biopolymers, most notably PLA, are beginning<br />
to be commercialized and substituted for petroleum-based<br />
polymers in cars, product packaging,<br />
and apparel. With the price of oil climbing steadily<br />
higher (hovering at about $71 per barrel at the<br />
moment), freedom from petroleum-based polymers<br />
is beneficial from both the environmental<br />
and the economic standpoint. Even the electronics<br />
industry is starting to open up to the use of<br />
PLA. In the spring of 2005, Fujitsu introduced the<br />
world’s first notebook computer with a 50% biopolymer/50%<br />
petroleum-based polymer housing.<br />
The FMV-BIBLO NB80K does not appear different<br />
than that of competing notebook computers;<br />
however, the company calculates the reduction<br />
of CO2 emissions caused by the PLA content at<br />
15% over the entire life cycle of the product. While<br />
Fujitsu’s computer is far from realizing the true<br />
cradle-to-cradle ideal, it demonstrates how valuable<br />
any progress is. Regretfully, this product is<br />
not yet sold in America.<br />
Thanks to the efforts of Los Angeles-based<br />
American Apparel ® , even tirelessly fashionable<br />
View of Tower from Bryant Park
Images: © dbox for Cook + Fox Architects LLP<br />
hipsters can now be accidental environmentalists.<br />
Not only has the cotton apparel retailer embraced<br />
responsible manufacturing processes, it has also<br />
built a very successful (and damned sexy) business<br />
out of it. Originally conceived as a vertically-integrated,<br />
sweatshop-free T-shirt company,<br />
American Apparel has grown to become the nation’s<br />
largest T-shirt manufacturer. The company’s<br />
business ethic inevitably influenced their attitude<br />
regarding <strong>materials</strong>, with the 2003 launch of the<br />
Sustainable Edition ® . The line now encompasses<br />
16 different items for both children and adults<br />
in 100% USDA Certified Organic Cotton. Most of<br />
their most popular styles from other lines are<br />
available in organic cotton as well. The company<br />
aims for 80% overall use of organic cotton by<br />
2007. Of course, American Apparel addresses the<br />
issue of sustainability and style directly on their<br />
website: “By no means in integrating environmentally<br />
friendly fabric does this compromise American<br />
Apparel’s style and youth-driven fashion for<br />
environmental ethics.” Of course, as sustainability<br />
continues to mature, there should not be a need<br />
for this type of disclaimer.<br />
The <strong>new</strong> Bank of America Tower at 1 Bryant Park<br />
in New York City is an outstanding example of the<br />
harmonious combination of environmental concern<br />
and design integrity. As the first high-rise<br />
office tower to strive for a LEED platinum designation,<br />
the crystalline structure has redefined the<br />
standard of sustainable architecture. Glass, the<br />
primary visual component of the building, both<br />
enables the faceted, crystal-like appearance of<br />
the building and acts as an insulating skin. The<br />
extremely translucent, floor-to-ceiling windows<br />
are made of low-e insulating glass with advanced,<br />
double-wall technology. While offering fantastic<br />
views of the surrounding city (including the<br />
Empire State Building), the windows also dissipate<br />
the sun’s heat.<br />
1 Bryant Park’s Urban Garden Room<br />
Less visible, but equally important to the building’s<br />
environmental footprint, are the structural <strong>materials</strong><br />
and systems. The construction uses a minimum<br />
of 50% recycled material, with a minimum of 50%<br />
manufactured within 500 miles of the site. For<br />
the concrete foundation, 45% of the cement was<br />
replaced with blast furnace slag, a by-product of<br />
steel production. Approximately one ton of CO2 is<br />
saved per ton of replaced concrete. The building<br />
also integrates a gray-water system that captures<br />
and re-uses all rainwater and wastewater, saving<br />
10.3 million gallons of water annually. Finally, an<br />
onsite, 5.1-megawatt combined cycle co-generation<br />
plant will meet the building’s energy requirements<br />
cleanly and efficiently.<br />
If architecture could be considered a macro methodology<br />
for sustainability, furniture design is its micro<br />
counterpart. An overwhelmingly polluting industry,<br />
furniture manufacture offers many opportunities<br />
for improvement. One elegant solution is Imprint,<br />
a cellulose-based, molded chair by Lammhults. This<br />
chair mimics the curves of the Eames’ shell chair<br />
but is made with a much more eco-friendly material<br />
than the fiberglass that was previously used. This<br />
chair is produced from rectangular, flexible sheets<br />
of cellulose fibers that rigidized with heat and pressure<br />
in a mold. The resulting form takes advantage<br />
of the strength of wood and the versatility of<br />
plastic. To create rich, textural surface effects, the<br />
cellulose can be mixed with such natural fibers as<br />
spruce, coconut, and oak.<br />
With eco-friendly <strong>materials</strong> and manufacturing processes<br />
becoming the standard among <strong>new</strong> design<br />
projects, increasing levels of sustainability in your<br />
design practice are within reach. There is now the<br />
opportunity to integrate sustainability seamlessly<br />
within a design aesthetic, with no Birkenstocks or<br />
patchouli required. What are you doing to green<br />
your design?<br />
IN THE MATERIAL WORLD<br />
“Imprint Shell Chair” by Lammhults<br />
27
IN THE MATERIAL WORLD<br />
28<br />
THE GREEN HOUSE<br />
New Directions in Sustainable<br />
Architecture and Design<br />
by Alanna Stang<br />
For decades, cutting-edge architecture and<br />
sustainable design have existed in separate<br />
camps: the leaders of each field had little to<br />
say to each other. In the world of contemporary<br />
residential design, sustainability ranked<br />
well below considerations of style and cost.<br />
Many sophisticated designers believed that<br />
high-quality or cutting-edge architecture and<br />
interior design had little chance of making an<br />
aesthetic statement if environmental issues<br />
or energy efficiency took precedence. The<br />
environmental movement, for its part, was<br />
suspicious of the world of star architects,<br />
interior designers, and their style-conscious<br />
patrons. And green builders tended to concentrate<br />
their energies either on tinkering<br />
Interior views of the Mill Valley Straw-Bale House<br />
The Mill Valley Straw-Bale House, San Francisco<br />
with their own residences or putting up experimental<br />
structures that many architects<br />
and critics dismissed as ugly or eccentric.<br />
Beginning in the 1990s, however, avant-garde<br />
designers and the leaders of the sustainability<br />
movement began to move toward common<br />
ground.<br />
The Green House: New Directions in Sustainable<br />
Architecture and Design is the first major<br />
exhibition to explore the fruits of this collaboration—the<br />
<strong>new</strong>, eco-friendly domestic environment.<br />
And while the show covers many issues,<br />
from wisely siting the house to using the<br />
sun effectively, a major focus is the dramatic<br />
increase in <strong>new</strong> green <strong>materials</strong> and retail out-
Photos: © Edward Caldwell<br />
lets in which to buy them that have proliferated<br />
due to the mainstreaming of sustainable<br />
design.<br />
The show advocates choosing <strong>materials</strong> according<br />
to various criteria. Some natural<br />
<strong>materials</strong>, such as fast-growing trees and<br />
agricultural products, are rapidly re<strong>new</strong>able.<br />
Other products can be reused or recycled<br />
once no longer needed, or are long lasting<br />
and require little maintenance. Waste can<br />
be eliminated by choosing products that are<br />
biodegradable or recyclable and are certified,<br />
salvaged, or reclaimed. Finally, the concept<br />
of embodied energy is introduced by asking<br />
the visitor to the exhibition to consider how<br />
much energy was required to extract, process,<br />
package, transport, install, and recycle or dispose<br />
of <strong>materials</strong> that make up their homes.<br />
Up to 70% of the total energy invested in a<br />
building’s construction is embodied in the <strong>materials</strong><br />
themselves, and the show recommends<br />
that people buy locally produced products<br />
and <strong>materials</strong> whenever possible to reduce<br />
additional energy use and pollution associated<br />
with transportation.<br />
Of the 21 houses featured as eco-friendly in<br />
The Green House, three are of special interest<br />
because of their <strong>materials</strong>. The first is the<br />
Mill Valley Straw-Bale House (2001), located<br />
outside of San Francisco and designed by<br />
Arkin Tilt Architects. A “truth” window offers an<br />
inside view of the walls constructed of straw<br />
bales with a sprayed-earth finish and a structural<br />
system that provides efficient insulation<br />
as well as supporting walls. The roof is insulated<br />
with cellulose, a material derived from<br />
recycled <strong>new</strong>spapers and covered in strawboard<br />
panels. Other green interior features<br />
include columns of unfinished eucalyptus logs<br />
harvested from the site, kitchen countertops<br />
of recycled glass, salvaged doors, re-milled<br />
cedar trim, a system for compost built into<br />
the kitchen counter, and bins for recyclables<br />
accessed from both indoors and outdoors.<br />
Designed by Werner Sobek and built on a<br />
steep hillside outside Stuttgart, the “R128”<br />
house is a very different example of innovative<br />
<strong>materials</strong> usage. Its sleek, impeccable<br />
design projects an aesthetic ambition rarely<br />
seen in sustainable building, representing an<br />
imaginative compendium of ideas about green<br />
design, energy conservation, and recycling.<br />
Photo: © Undine Pröhl<br />
MacKay-Lyons Sweetapple Architects Limited, Brian MacKay-Lyons, Designer<br />
Designed to be installed and dismantled with<br />
minimal impact on the land, its modular building<br />
components can be easily detached and<br />
recycled. With an interlayer of metal-coated<br />
plastic foil that deflects long infrared rays,<br />
the triple-glazed panels of the façade have an<br />
extremely low heat transmission value. Watercooled<br />
panels in the ceiling absorb solar heat,<br />
which is stored and released through ceiling<br />
radiators in cold months. Because it is completely<br />
self-sustaining, the house produces no<br />
emissions. And its three-dimensional transparency<br />
allows residents to feel close to nature.<br />
The Howard House, Nova Scotia, incorporates local<br />
<strong>materials</strong> and passive solar collection.<br />
Finally, one of the most fascinating houses featured<br />
in The Green House is a meditation on a<br />
single building material, one of the most re<strong>new</strong>able:<br />
bamboo. Located in the shadow of China’s<br />
Great Wall, the Great (Bamboo) Wall, designed<br />
by Kengo Kuma & Associates, is as much about<br />
bamboo as constructed from it. Taking its cues<br />
from the Great Wall, the house features a wall<br />
made of bamboo stalks arranged in bunches<br />
along the longitudinal axis, a showcase for the<br />
material’s ability to be sculptural, cast shadows,<br />
and add rhythm and texture to facades.<br />
In contrast to the massive Great Wall, however,<br />
the house’s fragile-looking construction suggests<br />
the easy transfer of light and breezes.<br />
Constructed in a private development of villas<br />
north of Beijing, the house demonstrates that<br />
luxurious modesty and eco-efficiency do not<br />
have to be mutually exclusive.<br />
IN THE MATERIAL WORLD<br />
29
IN THE MATERIAL WORLD<br />
30<br />
INSIDE THE BOX<br />
by Phil Patton<br />
DNA spectroscopy, quantum physics, and super<br />
computers all have changed the world of <strong>materials</strong>.<br />
But so has a far more mundane invention,<br />
which is now celebrating its fiftieth anniversary.<br />
Containerized shipping, symbolized by the standardized<br />
big box, has made <strong>new</strong> <strong>materials</strong> available<br />
around the globe and old ones more accessible.<br />
The first boxes were loaded on a ship in 1956.<br />
The idea came, improbably, from a small-time,<br />
North Carolinian trucker named Malcolm McLean.<br />
Originally, unions fought the <strong>new</strong> technology;<br />
the Pentagon endorsed it to supply troops in<br />
Vietnam. Today, 8 by 8 by 20 foot containers are<br />
now tracked across oceans by satellite and radio,<br />
ensuring that parts arrive at factories together and<br />
products arrive just when buyers want them.<br />
Once the change began, the culture of the<br />
New York piers and the world of the Brooklyn longshoremen<br />
as depicted in the 1954 classic On the<br />
Waterfront, was doomed. Meanwhile, harbors at<br />
Busan, Korea, and Seattle boomed, and <strong>new</strong> ports<br />
were built in places like Felixstowe, England, and<br />
Tanjung Pelepas, in Malaysia.<br />
Shipping containers blurred the lines between<br />
modes of shipping: sea, rail, and truck. Once, a<br />
huge part of shipping costs lay in “break work,”<br />
the labor of the longshoreman, which consisted of<br />
transferring boxes and bags from ship to rail car or
Photo: Untitled, 2003 by Frank Breuer; Courtesy of Fiedler Contemporary<br />
truck. With that task removed, shipping prices fell<br />
dramatically. Such retailers as Wal-Mart and Ikea<br />
are inconceivable without containerized shipping.<br />
Toyota tracks engines from Japanese factories by<br />
GPS and RFD so they arrive at Canadian assembly<br />
lines to be installed almost down to the minute.<br />
Critical as the boxes are to our economy, we see<br />
them only rarely, at the edge of the water, the<br />
airport, or the highway. When they make appearances<br />
in movies and on TV, they tend to be associated<br />
with the seamier side of trade. The boxes’<br />
very ubiquity and hard-shelled uniformity make<br />
them the perfect cover.<br />
Only recently, for political and security reasons,<br />
we have begun to notice the boxes. We worry<br />
about who controls the ports and piers that load<br />
and unload them.<br />
But artists, photographers, and architects have<br />
been noticing them for a while. Photographer<br />
Edward Burtynsky sees the stacking and sorting<br />
of boxes on the docks as an “unintentional architecture.”<br />
In his images, shipping containers, piled<br />
four or six high, combine a playful, kid’s-block<br />
quality with the wear and grit of the real world.<br />
They are symbols of the global economy, Legos<br />
of the New Order.<br />
Burtynsky says, “I began to see containers as conduits<br />
for globalization. These are the things that<br />
make it happen. … We all partake of [the global<br />
economy] but rarely see it. We are normally disconnected<br />
from it.”<br />
A different approach to containers is that of<br />
German photographer Frank Breuer, who studied<br />
with Berndt and Hilla Becher.<br />
Breuer, who taught at Harvard last year and has<br />
shown his work at the Rocket Gallery in London,<br />
the Feigen Gallery in New York and the Fiedler<br />
Gallery in Cologne, spends a lot of time around<br />
ports looking for arrangements that please him.<br />
He is fascinated by the abstraction of the colors<br />
and modular, scale-less quality of the boxes. He<br />
looks for just the right stacks; Antwerp, he told<br />
me, was an especially good port for his purposes.<br />
Burtynsky, too, is drawn to the ports. His photos of<br />
them “are meant as metaphors to the dilemma of<br />
our modern existence; they search for a dialogue<br />
Photo: © LOT-EK<br />
between attraction and repulsion, seduction and<br />
fear. We are drawn by desire—a chance at good<br />
living, yet we are consciously or unconsciously<br />
aware that the world is suffering for our success.”<br />
The boxes represent trends in trade. In the U.S.<br />
and Europe says Burtynsky, “Because of the trade<br />
imbalance, there is a huge oversupply of empty<br />
containers, so people try to figure out how to reuse<br />
them. It costs too much to send them back<br />
empty.”<br />
3x3 CHK (Container Home Kit) by LOT-EK<br />
For this reason, they have been salvaged for storage<br />
spaces. Construction crews these days often<br />
turn shipping boxes into their own crude architecture<br />
for on-site offices and storage.<br />
Over the last few years, architects have begun<br />
highly publicized experiments with recycling the<br />
containers in building. They have been used for<br />
dwellings by the firm LOT/EK. Shigeru Ban, known<br />
for paper and cardboard buildings, assembled<br />
them into a huge temporary museum on the<br />
Manhattan waterfront. In London, artists now<br />
live and work in two dwelling complexes called<br />
Container Cities—a good symbol of the extent to<br />
which our lives have become inseparable from<br />
these anonymous boxes.<br />
IN THE MATERIAL WORLD<br />
31
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