Aegis Hyposurface

AEGIS HYPOSURFACE by Mark Goulthorpe of dECOi Architects.

HINT: Interactive walls!

"interactive mechanical surface that deforms in real-time based on various environmental stimuli, including the sounds and movements of people, weather, and electronic information.

The Hyposurface is comprised by a matrix of actuators, which are given positional information via a highly efficient bus system as well as an array of electronic sensors used to trigger a variety of mathematical deployment programs."*

*from www.transmaterial.net

Fabcell

FABECELL by Dr. Akira Wakita’s Information Design Laboratory at Keio University in Japan.

HINT: Chameleonlike fabric.

"Fabcell is a flexible, nonemissive fabric made of fibers dyed with liquid-crystal ink and conductive yarns. These materials are connected to electronic components and woven into a square textile. When a low voltage is applied, the temperature of the fabric increases, changing the color of the fabric. When arranged in matrices, Fabcells can display subtle images within the curvature of flexible textiles. Clothing can also be enhanced with temporary self expression."*

*from www.transmaterial.net

Reflexive Architecture machine

REFLEXIVE ARCHITECTURE MACHINE by University of Buffalo and AA London .

HINT: Arch. that transform itself in responses to changes in its environment.

"It re-imagines how we shape and assemble conventional materials, like rubber, plastic, and wood through a combination of material and computational processes to develop more complex relations between parts and wholes. This fundamentally challenges the static nature of conventional building materials and sensitizes them to the ephemeral and dynamic qualities of environmental conditions like heat, moisture, air chemistry and gravity."*

*from the the Center for Architecture and Situated Technologies at the School of Architecture and Urban Planning.

Membrane

MEMBRANE by Korban/Flaubert, St. Peters, NSW, Australia.

HINT: Steel chaise longue virtually transparent.

"A single thread of stainless steel is wound in a continuous spiral, and then a force of twenty-eight tons is applied slowly and strategically to create its simple supine form. Surface and structure are one: there is no chassis; it is a true and organic monocoque."*

*from www.transmaterial.net

Morphotex

MORPHOTEX by Teijin Fibers Limited, Osaka, Japan.

HINT: World’s first optical coloring fiber.

"Inspired by the chromogenic principle of Morpho butterflies that inhabit areas along the Amazon in South Africa.

Teijin Fibers has recreated this effect via nanotechnology, combining a total of 61 polyester and nylon fibers in alternating layers. By controlling the thickness of each layer ranging from 70 to 100 nanometers, they can produce four basic colors (red, green, blue and violet). Although no dyes or pigments are used for Morphotex, the process reveals a rainbow of colors according to the intensity and angle of light due to this unique structure of the fiber. As there is no dyeing process involved in producing the fiber, Morphotex saves energy and minimizes industrial waste when compared with conventional methods."*

*from www.transmaterials.net

Northern Lights

NORTHERN LIGHTS by Moving Color, Rocklin, CA, USA.

HINT: Glass that changes its appearance due to a change in T.

"Human touch, a change in the ambient air temperature, hot or cold water, or any relatively warm or cool source will trigger a thermochromic response. Northern Lights material may be designed in any size or thickness of glass, colors, as well as multiple activation temperatures. Moreover, the material’s base color may be matched to custom colors."*

*from www.transmaterials.net

Adaptive Facade

ADAPTIVE FACADE by Marilena Skavara

HINT: Facade that adapt to its environment.

"‘Adaptive Fa[ca]de’ explores the functional possibilities and performative characteristics of cellular automata (CA). In addition to the unique emergent behaviour of CA, a neural network enables a further computational layer to evolve CA behaviour to the context of its surrounding environment."*

*from Adapative Architecture and Computation programme at the Bartlett School of Architecture.

Elena Corchero

"Graphic Fan Lace" by Elena Corchero.

HINT: Incredible lighting fan!

"This hand-held embroidered and embellished fan stores solar power during the day, ready to be transformed into an ornamental light display for the home at night by incorporating solar cells into the textile's fabric."*

*from the book TEXTILES NOW, by Drusilla Cole.

Michael Brennand-Wood

Michael Brennand-Wood in TEXTILES NOW.

HINT: Optical configuration that mix traditions with technology.

"Inspired in traditions of floral imagery, this artist has combined computerized machine embroider, acrylic paint, wood, glass and collage. The woerk is colourful, dramatic, rhythmic and holographic in feeling."*

*from the book TEXTILES NOW, by Drusilla Cole.

Helena Hietanen

Helena Hietanen, Helsinki-based sculptor by TEXTILE DESIGNERS.

HINT: Technolace wall hangings.

"Fabricated from strands of optic-fibers, her work combine handicraft traditions and cutting-edge fibre-optic technology to create textiles that transmit light. Hietanen discovered fibre-optics at a trade fair and she discovered how to adapt it to create traditional lace patterns by combining traditional hand craftsmanship with today's technology, which is what she had wanted to do all along."*

*from the book TEXTILE DESIGNERS, at the cutting edge. By Bradley Quinn.

Astrid Krogh

Astrid Krogh, Denmark-based designer, by TEXTILE DESIGNERS.

HINT: Fibre-optic textiles, the visual pulse of light.

"Krogh anchors her designs to new technologies by weaving lenghts of optic strands into iridescent tapestries that glow, illuminate and flare into a rainbow of brilliant colours. 'My work incorporate artificial light but they are not artificial light sources themselves. My work is mostly influenced by the daylight I see outside my window'. "

"Altought Krogh works with hi-tech materials, she relies on traditional techniques to craft her textiles. 'It is very important to me to be able to switch between old craft techniques and new technologies'."*

*from the book TEXTILE DESIGNERS, at the cutting edge. By Bradley Quinn.