SKYNFEEL APPAREL BY PAULINE VAN DONGEN

Skynfeel Apparel by Pauline van Dongen for SKYN®

“In collaboration with SKYN® Condoms, studio Pauline van Dongen created SKYNFEEL™ APPAREL. It is a one-of-a-kind conceptual long jumpsuit for elite athletes made out of SKYNFEEL™. With a cutting-edge design drawing inspiration from biomimicry, SKYNFEEL™ APPAREL sets out to minimise body limitations and bring extra air time to the long jump athlete.

The garment features dragonfly wing-inspired flaps located on the edge of the body, constructed out of a thin layer of SKYNFEEL™ and reinforced by a geometric laser cut grid. Designed with the long jumper’s technical capabilities in mind, the flaps stay flat during the run, opening up during a jump – just as the athlete twists his arms and straightens his legs. The aerodynamic design creates an upward lift that enable long jumpers stay in the air longer.

Working with the SKYNFEEL™ material has been a way for both our studio and SKYN® to explore the possibilities in future performance athletic apparel. The material easily moulds in any shape and contains properties of being extremely lightweight and strong at the same time. This paves the way for innovating sportswear and creating an ultra-lightweight garment that could help long jumpers perform better.”

Pictures and text via Pauline van Dongen

Dutch Design Blog

PLASTIC NATURE TABLE AND CHAIRS BY ALEXANDER PELIKAAN

Plastic Nature by Alexander Pelikaan, Pelidesign.

“The Plastic Nature is a furniture concept which exemplifies the connection of the “plastic-world” and the world of wooden furniture.

The first pieces of the PlasticNature were stools for my graduation from the Design Academy in Eindhoven in June 2006.

When wood is machined material is always taken away – contrary to plastic .In plastic manufacturing there is hardly any waste because plastic is cast in shapes and leftovers molten again for further casting.
These facts bring with it several possibilities and constraints for each used material.

With the PlasticNature I wanted to fuse hand made furniture and injection-moulded plastic furniture.
These worlds belong together – they are both utilitarian, in a way even quite “low” (think about farmers chairs from the Alps and the white “Monoblock” chair ‘the worlds most’ chair).
I designed the plastic connection with – the wooden legs actually ‘flow’ into the seat plank…Then I drew the moulds on the computer and let the moulds rapid-prototype. These moulds I used for hand casting the plastic resin into the wood.

The wooden parts have cavities (in that version, milled holes) which are working in a way known from a dovetail connection does – the plastic flows “behind” and into them, hardens, and is not solvable anymore.
The complicated shapes of the cavities are not specially designed (in fact, not designed at all, they just emerge out of necessity, they look grown) – they fulfil the only purpose that they provide sufficient surface that the connection can cling to the wood…
That’s also a part of what I wanted to show: plastic is liquid at first it flows where it wants to flow; where there is space…

So the whole PlasticNature uses connections and is a connection and that on different levels, I name two: physical (wood connected by plastic) and stylistically (plastic furniture, wooden furniture)

 

Images by Bas Berends
Text via Pelidesign

Dutch Design Blog

PLASMA; ROCK, TILES AND GLASS BY INGE SLUIJS

Plasma rock, tiles and glass by Inge Sluijs 

“Plasma Rock is a mixture of waste that was broken down to its atomics elements and then fused together. ”

The waste will be transported on a conveyer belt to the gasifier where the waste will be transformed from solid matter into gas at a temperature of 800 degrees. From here it goes into the pacifier, where it will be heated to 1500 degrees and blasted with Plasma. Plasma is an ionized gas that generates a magnetic field.  This process can be compared with processes in nature, such as the sun, lightning and the northern lights. The plasma torch that’s inside the machine can reach a higher temperature than the surface of the sun.  The intense heat causes gases inside the machine to be broken down in to atomic elements.  Advanced Plasma Power tested the plant with different kinds of waste streams.Regardless of the waste put though the machine it will always output syngas, heat and plasma rock. 

Plasma Rock is closely related to ‘a new geological period’ called Anthropocene that is characterized by the human influence and power on environment, climate and ecology 

The slag left over by the plasma gasification process is called Plasma Rock. Plasma Rock is the waste of waste.
While the coastal historic landfill waste was toxic the Plasma Rock is virtually un-bleachable that means that any hazardous materials are inert and will not dissolve out of the material. The quality of this nearly undiscovered material is that it is mechanically strong, very dense and environmentally stable. During the cooling down process of the slag it becomes fully vitrified which gives the rock sharp edges. Some rocks look rough and contains little elements of undissolved metals caused by the cooling down process. Besides the aesthetic differences, the rocks have differences in the number of elements, this depends on the type of waste. The main elements in the rock are Silica, Lime and Alumina, other elements are Iron Oxide, Titania, Magnesia, Sodium Oxide, Potash and Phosphate. 100 kg of landfill waste will result in 20 kg of the Plasma Rock.

The low carbon ‘Tilbury Tiles’ that contribute to a circular economy are made from 100% Tilbury waste and are created in tilbury by a local tile company.For the manufacturing of the Tilbury Tiles the rocks should be broken down into little pieces and powder. Each tile consists out of +/- 200 gram Plasma Rock material so it needs 1 kg of landfill waste. The mixture of Plasma Rock that is needed to create the tiles dry’s within +/- 8 hours by air. They are extremely dense so don’t get damaged easily. The black gray tiles enable the material to show different textures and patterns. The flat and basic shape of the tile doesn’t distract the viewer from the materiality. Some are decorated with illustrations that tell the story of the landfill in an abstract way and contains ornaments created out of waste elements. These patterns are engraved in the Rock using a special stone craft technique. The tiles can be bought so every tile sold pays for the cleaning of the landfill soil. The tiles are branded with a logo that shows that it is made from 100% Tilbury landfill waste.

The power of the Plasma Rock has changed the way the local people view a coastal historic landfill. Previously nobody wanted to have the toxic waste in their back yard. Now this area is famous for its craft and materials. That’s why the local Tilbury community is celebrating this Anthropocene mine of raw materials.

The tiles are a souvenir that they use to express themselves to the outside world and tell their story about the rebirth of waste, based on a myth that I created around the Plasma Rock:
“One night there was a highly intense lightning storm going on above a landfill. The lightning went inside the ground. The next day an old man who lived close by, went to the landfill and to his surprise he found a black glassy rock. He gave this rock the name Mysterious Diamond. He believed that the first Plasma Rock is made by nature as a sign for humans to change the way we deal with waste and that their traces must be removed from the earth. This black mysterious unknown rock became a symbol of the transformation and rebirth of waste. People carried this magic material around and believed that it cleaned up the dirt of the past and it stimulates personal development. But above all it warns humans to stop polluting the Earth.”

Working together with the glassblower proved that the Plasma Rock isn’t toxic otherwise the glass would have changed colour. Mixing glass with crunched Plasma Rock required a different glass blowing technique. The material restricts the glass so it’s harder to blow and it shapes differently than normal, besides that we discovered different ways of mixing the Plasma Rock with glass what resulted in different textures. Normally with glass blowing you don’t mix it with another material.

 

Text and images via Inge Sluijs

Dutch Design Blog

BUNKER 599 BY RAAAF

Bunker 599 by RAAAF

“In a radical way this intervention sheds new light on the Dutch and UNESCO policy on cultural heritage. At the same, it makes people look at their surroundings in a new way. The project lays bare two secrets of the New Dutch Waterline (NDW), a military line of defence in use from 1815 until 1940 protecting the cities of Muiden, Utrecht, Vreeswijk and Gorinchem by means of intentional flooding. 

A seemingly indestructible bunker with monumental status is sliced open. The design thereby opens up the minuscule interior of one of NDW’s 700 bunkers, the insides of which are normally cut off from view completely. In addition, a long wooden boardwalk cuts through the extremely heavy construction. It leads visitors to a flooded area and to the footpaths of the adjacent natural reserve. The pier and the piles supporting it remind them that the water surrounding them is not caused by e.g. the removal of sand but rather is a shallow water plain characteristic of the inundations in times of war.

The sliced up bunker forms a publicly accessible attraction for visitors of the NDW. It is moreover visible from the A2 highway and can thus also be seen by tens of thousands of passers-by each day. The project is part of the overall strategy of RAAAF | Atelier de Lyon to make this unique part of Dutch history accessible and tangible for a wide variety of visitors. Paradoxically, after the intervention Bunker 599 became a Dutch national monument.”

 

Text from RAAAF
Pictures by Allard Bovenberg

Dutch Design Blog