This summer ADDITIVE ADDCITED supports the project TON STEINE ERDEN (CLAY STONES EARTH) that takes place at Art Academy Berlin Weißensee and which is part of the greenlab. Currently, the greenlab deals with the manifold relations between Berlin and Brandenburg, in particular it concentrates on a region in the south-east called Oder-Spree. For a long time the natural resources of this region have been sand, wood, coal and clay – by using these natural resources, countless brickyards around Berlin produced construction materials for the flourishing capital. In view of promoting a sustainable building culture, the TON STEINE ERDEN project would like to once again emphasize those cultural and material resources and attempts to develop suitable and sustainable positions referring to the architectural structures that constitute a space: Ceramic and modular surfaces, tiles, bricks and building blocks of all kinds are under examination and are reconsidered in their manufacturing procedure and design.
“The project will give an introduction into working with ceramic materials and technologies from traditional and manual techniques to industrial ones, and it will deal intensively with the potentials of digital tools associated with design and manufacturing procedures of architectural ceramics. An important module in the project will be ceramic 3D-printing, its tool-free and additive procedure allows easily complex undercuts, coiled structures, and even the realisation of only one item becomes efficient with that technology.”
Prof. Barbara Schmidt
In that context, ADDITIVE ADDICTED is responsible for imparting the whole process of ceramic 3D-printing and we support the students in the planning and execution of their concepts. In May 2017 we began with an intensive workshop that inducted the students into ways of working with a ceramic 3D-printer: They learned more about the process itself and the characteristics of the semi-fluid ceramic paste. We’ve expanded on different strategies of generating data and have explored a wide range of examples to expose the potential as well as the limits of this technique. Further, we gave an well-founded introduction to the slicing-software Repetier Host. Repetier Host is not only the printer’s virtual desktop but it also provides different slicing tools which offer a basis to generate the Gcode and to control the printer’s settings. In the second part, the students started to print their own designs. By doing so, they experienced how they can adapt their digital CAD files according to material and technological properties and they realize that even the post-processing of slicing offers a wide range of creative possibilities. In the workshop we used a non-industrial clay that originally came from a forest in Brandenburg near the little village Sauen. To achieve a printable material, the clay was cleaned and processed in such a manner that it finally had the right properties and consistency. In the following weeks we will continue to support the project with our ceramic 3d-printing expertise. We will help to optimize the ceramic materials and we’ll give support to adapt designs to the restrictions of the printing process.
Authors: Babette Wiezorek & Dawei Yang
More information: http://additiveaddicted.de/
Last week we landed in nonwovens heaven, otherwise known as Techtextil in Frankfurt, Germany. Here all big technical textiles players gather from across Europe and beyond, to showcase their wares, make deals and negotiate. We couldn’t possibly miss this chance to finally meet the nonwoven manufacturers in person, who we have been corresponding with via email for months!
On arrival, the sheer amount of exhibitors was truly overwhelming. Techtextil is an enormous operation: happening only once every two years, in the meantime the company organise similar expos in Russia, North America and Asia. The hall with my name on, 3.1., dedicated to nonwoven manufacture, was only one of many, yet in itself a pulsating hotspot for commerce. The expo site is in itself almost a small city, continuously filled throughout the year with visitors and varying exhibitors from across the world.
The first day began well, resulting in productive talks about potentially having samples made with several new companies that I hadn’t previously been aware of. Friends of mine from the department of Textile and Surface Design at Weissensee art school in Berlin had won a prize for new textile building methods, announced at Techtextil17, so we had something else to celebrate!
Day two had higher aims, with more time to meet exhibitors and some important appointments with factory managers ahead. What proved very helpful was having exchanged emails with many companies in advance, I knew the names of the employees I was looking for, and could approach their colleagues and ask for them, which enabled me to optimize my time, and make a better impression. The main company we have been negotiating with for weeks were clearly in demand, as their booth was always full, and our appointment had to be arranged in advance. Perhaps a good sign, that they are a firm worth their salt! After the day was through, I left the fair feeling positive, that many manufacturers appeared willing to look into our requests and that possibilities are on offer to make nonwoven wool fabrics in Germany/EU. Let’s hope that this networking will result in a sustainable supply chain to produce our fabrics on a large scale in the near future.
Author: Yolanda Leask
More information: http://yolandaleask.com/about.html
Esther Zahn have met the radio journalist Dennis Kastrup from Berlin based radio.eins. They speak about the development in Fashion Tech Design, ‘Soundstoffe’ and choreographies that produce their own music.
Recall the complete dialogue on radio.eins: Fashion Tech Design
It‘s been almost six months since the first ever Design-in-tech Accelerator – DesignFarmBerlin came to life: An initiative supporting designers in placing their product ideas on the market. In times when accelerators in Berlin urge for scale and cash streams our approach can be regarded as kind of odd.
Firstly, we focus on ideas that bridge design and technology. Design is the cradle for innovation and technology is what makes it sparkle. Numerous examples from the industry, AirBnB, Snapchat, Pinterest, prove this approach to work successfully: technology has to be perfected in a meaningful way to become profitable.
Secondly, we offer a very customized program to each of our „farmers“. We connect them with industrial and research partners to broaden their horizon and involve them in a conversation within their industry sector. This way, we create an individual ecosystem for each farmer to eventually sharpen their vision.
Finally, we cultivate the culture of debate. Through this debate, the farmers can shape their product or service idea.
UX.FTT paves the way in the area of wearables electronics. The founder behind it, Esther Zahn, explores the integration of thin-film sensors into textiles. One of her recent developments is a music garment. The sensing approach, however, can be also applied to control other objects and equipment to create smart environments, known as a smart home or an e-vehicle. As a fashion designer, Esther investigates the aesthetics of arranging electronics in a user-friendly and appealing way.
Hilanderia from Sara Rodriguez is a prototype of a digital yarn spinning machine designed to precisely control and modulate the properties of a yarn e.g. yarn thickness or yarn material combinations. Although the machine is now at a prototype level, the first patterns have been produced. The field of application for this new technique is extremely wide: from fashion design, home textiles to technical textiles. As a next step, Sara strives to demonstrate these new capabilities of „desktop-designed“ fabrics to young fashion design labels in Berlin and to scale the concept for industrial production. Currently, Sara is working on a fashion collection together with a Berlin-based fashion designer, Nathalie Krueger. In a fashion city like Berlin her approach promises to become a huge success.
Ursula Wagner is a textile designer who specializes in industrial weaving technologies. She creates bespoke large-size 3D textiles and flexible solutions for interior architecture. With a sense for innovative material combinations and her technological expertise, she develops sophisticated fabric constructions according to the site-specific design brief. She is now joining her efforts to showcase her Dynamic Fabrics to potential customers. You can admire her works at the permanent collections of Grimmwelt Kassel* and at Audax TextielMuseum Tilburg as well as in her studio in Berlin-Schoeneberg.
On March 8-9th, 2017 DesignFarm organizes the second workshop for new applicants at Fab Lab Berlin. This time, the applicants will have a chance to join us for the Meet&Pitch on Design-in-tech at the Factory Berlin and discover the vibrant start-up scene of Berlin
Feel free to join us on March 8th at 6 pm at the Factory to celebrate the creativity of designers.
Press contact: Anastasia Zagorni, firstname.lastname@example.org
*Ursula Wagner & TheGreenEyl Berlin, Installation WORTARBEIT, Grimmwelt Kassel 2015