Remixing materials¶
Reflections of the two weeks of Remixing Materials
Week 1 Abstract
This week was very hands-on focusing on the making of materials that are biobased. So we can arrange naturally occurring materials to fit our modern needs/wants. The focus was on the research and exploration of alternatives for the replacement of plastic and petroleum-based materials that are the source of so many socio-ecological issues. But is plastic bad if it has served us so well, or is the way we use it that is problematic? What are the ethical concerns of working with living organisms, like mycelium? What protocols should be followed when working in a BioLab that engineers new materials? We explored these questions and many more.
Key-words: Living Material, Material Biomimicry, Material Tinkering, Material Geography
Introduction to the Mycelium world at Sbiotica, with Jessica Dias.
Working with living materials can build an understanding of and respect for materials as living nature, optimize the use of material resources and thus build more resilient systems. Furthermore, as production will depend on the materials growing, it can strengthen slow design thinking for designers and users. (Hasling M. K., Ræbild U., Herttua I., Patel A., Material Pathways. Narrating materials in design for sustainability (tool). Design School Kolding, 2020.)
Mycelium is a material that is a living organism or a living organism that is a material. Designers use their innate growth behavior to create alternative products or processes that are less harmful to the health of the people and planet. It is interesting how a mycelium product is part of the anthropomorphic version of a fungi’s life cycle, by depending on laboratory materials. We are making a sustainable alternative material using tools and similar scientific facilities that depend on the use of metals and single-use plastics. As we democratize bio-labs and bio-engineering tools become more accessible there is going to be a boom in scientific waste. It makes me wonder, what does a sustainable or circular bio-lab looks like?
Week 2 - abstract/summary
We are truly working in the Anthropocene, using living materials, biological compounds and technology to design better ways of living and letting live. The material explorations continue with the introduction of new machines and technics - 3D printing & molding. In the case of my group, we also explored the laser cutter in FabLab. We went through the motions of more questioning: What is 3D printing? What biomaterials can be used? We tried to explore different protocols, recipes, changing parameters and the variables that accompany the use of a 3D printer. The class was divided into groups to print objects made of remixed materials or clay. Later, together with Edu and Petra, the class was introduced to the basics of mold making and bacteria dyeing.
Keywords: Material Tinkering, Material Datasheets, Manufacturing, Molding, 3D printing.
MATERIAL by Carolina Almeida
The group explorations were the core and the fuel of the week, producing knowledge and materializing our design spaces. I was in a duo with Amanda Jarvis. Amanda gifted me with the most interesting facts on the maker world, costume design and textiles. We found out that our interests intersected and shined the brightest when we discussed holistic approaches to material design, critical thinking, and boycotting capitalistic and neoliberal structures which in the context of Remixing Materials led us into color and pigment development. We tried to make bioplastics work as biograffiti prototypes while also applying these explorations as textile adornments (for example sequins). For the development of materials, we would always have pigment incorporation. The pigment extraction was made from Itnig’s coffee waste. And in turn, the gelatine scraps from cutting shapes out of the gelatine sheets (bioplastic) were reused in attempts to make ink for biograffiti - it failed, it was too liquid. Yet, the cutouts (butterfly shape) could be attached to glass surfaces with just water. The final presentation is below:
pigment by Carolina Almeida