3D printed sculptures

These are a few recent wonders of the world of 3D printing. The above image is a sculpt by Belgian artist Nick Ervinck who was inspired by the structure of human organs and lets his imagination create these amazingly intricate shapes. Below are works by German studio Deskriptiv, who delegate more of the formgiving process to the computer, working with generative algorithms. They introduce an interesting, sort of lightweight aesthetic by printing two materials tightly interwoven with each other.

3D Printed lamp turns your room into a forest

The Danish duo HildenDiaz have created a very intricate and arguably beautiful structure for a 3D printed lampshade. Besides being an amazing work of digital craftsmanship, it's an interesting design because the shapes generate an immersive projection on the surrounding walls, making you feel as if you're in the middle of some dense forest. The lamp is not on sale yet, but the makers are currently trying to raise some crowdfunding.

Bio-organic breast pump

'Fluenci' is an outstanding design project, where the underlying design philosophy, project approach, and design results are all very innovative and beautiful. The project was performed in 2010 by Jaap Knoester as part of his master graduation from Eindhoven University of Technology, and  in collaboration with Philips Design.

The vision of the project was to create a new type of breast feeding pump, that fits the intimate experience better than current models, which feel very mechanical and functional. Several interviews were done with mothers which showed that current breast pumps often make them feel exposed, or even felt degrading. It was also found that the so-called 'let-down' reflex, which triggers the milk flow, is stimulated the most when the mother can see, hear, smell and feel the warmth of her baby.

These stimuli are incorporated into the design of the Fluenci breast pump through a heated breastshield with electric thermofoils, an organic form that resembles the back of the baby's head and neck and allows for cradling, as well as sounds of the baby played by the remote pump unit. Because milk flow is most stimulated when suckling starts out fast and then slows down, this behavior was also incorporated into the breast pump. The device has a button on top which the mother can tap in order to adjust the suckling frequency.

User tests showed that this interaction for adjusting the suckling frequency should be more direct and precise. While a subtle and direct interaction such as the suggested tapping might seem beautiful, I think that the main reason it is not preferred over, say, a slider or control knob, is that it needs too much conscious attention from the user. It requires a felt connection to the device, in other words, the user needs to mentally get into a rhythm and then convey this rhythm in an embodied way. But such a felt connection is subordinate to the felt connection with the baby. A baby's suckling can obviously not be controlled by tapping on his or her head, so it is necessarily a non-anthropomorphic element, and probably it is best to design it as such - as part of the technical device, not the intimate experience. In this case it is probably best to leave the age-old ritual of breastfeeding alone and minimize other subrituals in terms of cognitive and physical load.

Overall, the test subjects much appreciated the device. Knoester explains in a paper written for the DeSForM 2012 conference called 'Fluenci: The expression of expressing' that the underlying design philosophy responsible for the success is based on a new type of anthropomorphic design that does not fit well into current classifications of anthropomorphic design, because it does not fully mimic human form, gesture, social roles or intentionality. Rather, it is more subtly designed with human qualities so that the user can interact with the device as if it were human. Knoester calls this Embodied Anthropomorphic Form.

Now, I think we need to pay some attention to this, because to me it is an extremely beautiful and powerful way to design products. It avoids the uncanny valley by not directly mimicking existing biological forms, and it avoids a too technical, robotic, distant look. I think that deep down, it is exactly where humans want to be in terms of interacting with their technological environment, and that it can dissolve such widespread modern-day feelings of alienation and dissociation. I think that we need to extend this approach into a design approach that can be used for all products, not just ones simulating human to human interaction. We need to learn to design products so that humans are invited to interact with them as if they were sentient beings in general, imbued with the same cosmic life force, you could say, that we humans feel. Then technological products would not feel distant and complex anymore, but we can accept their complexity because we feel the same life in them as we feel inside of us, so on a more basic level there would be a feeling of equality which can them give rise to empathy, acceptance, understanding, even love or oneness.

In the past, I have quite casually suggested the term 'biological modernism' for this design approach, because I believe that we should design according to modernist principles but now extended not just to minimize and beautify static qualities such as form and proportion, but also dynamic, alive qualities of interaction. I think though, that modernistic design could be more like a subclass of this kind of biological design, because it would allow people to also be less minimal (or even extremely extravagant) in case they prefer such an approach. It's just that personally I would advocate minimalism because it forces designers to use their creativity and intellect more fully in order to condense a lot of complexity into elegant design solutions, and this to me is what creates beauty. But of course nature does also not always seem very intelligent, and often extremely messy. The notions that nature is wild, nasty and chaotic on the one hand, and mind-blowingly beautiful on the other hand, are two opposite images and as always, neither is fully true. So now I would like to suggest a new approach, in the broadest sense based on encapsulating the biological lifeforce in technological devices, not just in terms of form such as organic designers such as Luigi Colani and Ross Lovegrove have been doing with their corresponding design philosophies of 'Biodesign' and 'Organic Essentialism', but extending this also towards the embodied relation with human beings. Therefore I would like to suggest the term 'Embodied Biodesign'. In case this sets you thinking and you come up with a better name, suggestions are welcome!

Advances in organic car design

Ever since life has given us the opportunity to step off our horses and create our own objects of transportation, these objects have become extensions of a man's ego as far as aerodynamics and manufacturability restrictions would allow. Early cars were predominantly expressions of upper-class style, and later they also expressed other values such as youthfulness and free-spiritedness. There comes a time in life however, when the individual identity recedes from our lives and instead of trying to survive in an environment essentially seen as hostile to our existence, we become more in tune with nature, and start living more as an integral part of it.

It is here where softer values values such as harmony, sensitivity, balance and kindness enter. In Western cultures such as the European and North-American, these values have not manifested on a large scale, but in East Asia they have always been part of the collective values. In the Chinese market you will have trouble selling cars with sharp lines; they want soft, nicely rounded shapes. The founding father of organic car design, Luigi Colani, is immensely popular there. But there are emerging designers who know how to bridge the sleek and modern with the blobby and organic, and probably the most famous one is Ross Lovegrove.

Together with Renault he created the Twin-Z concept, where he even went beyond his usual soft form language and added an almost psychedelic intensity to it with vibrant colors and complex patterns. It reminds us of the paintings of Monet or Cezanne, in a time where art went from dogmatic principles towards an expression of complete subjectivity. The Twin-Z invites us to go beyond our mind-driven existence and be completely present in the experience, enjoying the vividness of the environment and the driving experience itself. Because when our mind becomes silent, reality itself starts to enter into our conscious experience and becomes more and more vibrant. Lovegrove helps us here to open our dimmer switch and turn on the light.

Another interesting example of the development of organic car design is the thesis project of Oliver Elst in cooperation with Mercedes-Benz. The German student created a lightweight car concept that incorporates three 'skins'. The central layer would serve to regulate systems such as cooling and lighting, and is designed as a pattern of balls around the car. Why they are ball-shaped is not entirely clear, and it would probably not do the aerodynamics any good, but it sure is an interesting stylistic development. 

Also make sure to check out Yang-Min Seok's concept for the Renault Zero:

The self-repairing shoe

This shoe is an early exploration by Michael Wihart into combining biotechnology with everyday products. He has turned the heel into something truly functional by implementing special cells inside of it, called protocells. When the sole gets damaged over time, these cells will flow towards the damaged parts, and solidify in place in order to repair the sole.

So the shoe is actually turning into a biological, almost alive entity. The developer has emphasized this through the quite radical contraption that was clearly meant to provoke rather than sell itself. It also reminds us of the work of fashion designers Hussein Chalayan and Kei Kagami, who often make their wearable creations into not just a surface around the skin, but a mechanical extension of the human body. These may not be the most comfortable to wear, but they do help shift our perspectives in making us ready for a very dynamic and alive world. Because in the future, our products will not get replaced any longer; they will grow along with us.

Scripted spatial complexity

Complexity is the new minimalism, and more is the new less. Many mature minds today have gotten reasonably used to the complexity and interconnectedness of the world, and we no longer need our technological creations to exude simplicity and purity so that we can let our mind have some breathing space. We are more and more skilled at having our senses flooded while mentally staying at a comfortable level. Now we are ready to bring an intelligent complexity into the physical environment we live in.

More and more, products, graphics, and architecture is created that is fueled by the urge for created complexity. Often, these things borrow heavily from nature, which shows through in the outer form. Those things can impress us because they are new, and they look natural while being man-made. But once you're over that shock it tends to seem very natural that we would build things that way. The machine age we created after the second industrial revolution allowed humanity to quickly set up healthy, thriving, functional societies, but they tore us away from nature. In the sixties and seventies we massively returned to nature, and now we are integrating the world of nature and the world of the machine. We are now getting used to that new way of building, and we need lots of exploration.

One of the pioneers in this area who are making this into a career is Marc Fornes, and it is his work that triggered me to write a bit about complexity. He uses scripts to generate architectural forms, and has been displaying these constructions in the form of small spaces that people can walk through. It is interesting that Marc Fornes is creating his own design language through his work, and is not simply mimicking nature or strictly using natural principles. Instead, he seems to be mixing natural elements and human preferences, for example in his material use and form language.

Now it's time for designers to follow people like Marc Fornes, and bring in complexity in forms where we can, and even more so when we can intelligently merge form with function this way. But also visual complexity alone can greatly elevate people's experiences of products in that it takes them out of their minds, and into the world again.

Hylozoic ground

Architect/artist Philip Beesley, in collaboration with Rob Gorbet and Rachel Armstrong, has created a new installation based on a previous one called 'hylozoic soil.' Like that one, this one invites people into a living, breathing space, that responds to its visitors. This invites people to get out of their individuality for a while, merge with the space, and release into the aliveness of the present moment.

Scripted products by Lionel Dean

Of course it's nothing new that rapid prototyping techniques are giving rise to wildly innovative three-dimensional shapes. It's also nothing new that these techniques are still quite slow and very expensive, so still not interesting enough for design for the masses. It is still interesting though to see what kind of form repertoires different designers are coming up with, within this radically enlarged scope of potential. Some designers keep it minimal and functionalistic, some try to create more elegant, abstract versions of nature, some develop a more edgy and sharp style, and others go a bit more extreme and create very organic, chaotic and often alien-looking shapes.

Lionel Dean, founder of the company FutureFactories, belongs to the latter category. He develops objects that seem to be taken directly out of the jungle of Pandora, that extraterrestrial realm in Avatar. His work is closer to bio-fantasy than biomimicry, as he seems to emphasize artistic freedom more so than functional constriction. A quite innovative aspect of his products is that he uses scripting to generate the forms, while only providing a fixed 'meta-design' to the computer. The designer here, as a blend of man and machine, creates completely unique products.

Solar leafs to charge electric vehicles

In an assignment for Nissan, architecture firm su11 has envisioned a modular, future-oriented system for charging electric vehicles. The system consists of several 'E-VINE stations' that have a central unit to charge and reprogram the electric vehicle, with leafs above it to capture solar energy. These leafs are envisioned to be separate modules that can link up, so that the amount of leafs at a station can be adjusted according to the local energy needs. This is important, according to su11, because the transition from gasoline-based fuel to the fully electric vehicle is likely to proceed gradually. The system, like a vine then, can grow over time towards a fully electric and 'green' future.

Kinetic building skin

The Kinetower by Kinetura is probably one of the best present-day examples of the potential of moving architecture. It has a dynamic building facade that is composed of a pattern of movable elements. These can respond to the needs of the moment by curling up and down, thus either closing or opening the building up.



It seems that the idea of a dynamic skin is one of the first aspects of technology that has it move towards a truly interconnected, physically intelligent, almost biological state. We are seeing the living skin more in architecture, such as in the Geotube by Faulders Studio, and it is also trickling down into automotive design, with the BMW Gina and subtly with the Renault Dezir, as well as into product design such as in the works of Karim Rashid and Ross Lovegrove. I think we can only celebrate this, immerse ourselves into the aesthetics of it, as well as incorporate it into our own creative processes where possible.

Algorithms create complex columns

It looks as if these structures have been grown, not by humans, not even by nature, but by some entirely new kind of intelligence. However mostly ornamentation, it is clear that it is not just that but also a look into a future where the still quite crude mass-production methods of today will be replaced by machine processes that can produce almost infinitely complex and individualized pieces. The ancient-Greek-degrading creations you see here have been generated through computer algorithms and have been created out of thousands of laser-cut cardboard sheets.

From a purely visual point of view, the complexity in these columns remains so consistent and coherent that there seems to be an infinite variety while all parts within this variety are exactly in the right place. The form must be so fascinating because to really grasp it we have to manage to get into a state of pure perception, where the mind does not conceptualize forms as individual things located in space. The columns here can almost serve a psychedelic function by connecting us so viscerally that we can step beyond mind-processes. I await the day where, next to our microwave, we will all have our home-based fabbing station, and we start replacing today's sense-skipping objects by things like Hansmeyer's columns.

Mercedes goes bionic

Great stuff from the Mercedes Benz design department. Apparently they have been working on the development of an entirely new form language, and it is promising. The free and flowing forms they came up with are not just sculptures arisen from the unbound human imagination, but based on natural structures that have optimized themselves over many generations. As a result, the design language has become extremely beautiful, and it simply seems to 'fit' to Mercedes-Benz. Where modernism has mainly resulted in mass-produced 'soulless' objects, including biological processes into it may bring this back and make the ultimate union of form and function. When humanity for a moment thought that modernism took away all individuality, biology is here to show us how we can be united and individuated at the same time.

It seems that Mercedes is looking for a name for this language -that really is much more than a language- as they call it 'Sculpture Aesthetics No. 2'. I would suggest 'biological modernism' as the umbrella term for this class of design -which, again, is much more than just a class or style of design but more like a new paradigm. Take a look at their promo video, and some pictures of the prototype, sculptures, and sketches they made.

Sustainable floating cities

Most of the Western cities have just emerged bit by bit, which can cause quite the inefficiencies in a changed, high-paced and interconnected world. Other cities have been based on a grid-like system which works as a system for living but completely takes the 'soul' out of a city. Then there are a few cities that have been based on a different kind of plan, as a more artistic approach, such as the city of Brasilia as designed by Oscar Niemeyer. This has turned out to be quite a failure as it was not anticipated how the people would actually live there.

Vincent Callebaut has another idea, which is also based on a preconceived plan mostly, yet it's a piece of intelligent, somewhat holistic and environmentally responsible thinking. And the structure he proposes is extremely beautiful too. His concept is to create floating cities along the coastline that somewhat look like Lilypads. Each of the cities can provide residence to 50.000 people, which could be people that have lost their home in a traditional city through a natural disaster. Beside aesthetics the unique aspect of these cities is that they have zero emissions, and even process carbon dioxide from the atmosphere. This, the Belgian architect envisions, can be reached through using energy from the sun, the wind, from biomass, and from the tidal waves.

I like the thinking and the design, and I think this can work if we can get the money together. Dubai, Shanghai, Hong Kong, anyone?

A car that is grown instead of assembled

The chance that you are anywhere near L.A. lies probably near 0.5%, but if you are, and like terrific concepts, go to the Los Angeles Auto Show. It is there that you can see the result of a design competition for a future car below a thousand pounds of weight, including some radical but mind-opening concepts.

For once, innovative thinking goes into changing the entire means of production of cars, and draws its inspiration from biology. The Mercedes Benz Biome concept is one of the most extreme ones I have seen, if not the most extreme. It imagines a car that is grown out of one module, submerged in a `Nursery´ where cars are developed in a matter of days. Like the human body, the car would essentially be one integrated system, with except for probably the wheels, no separate parts. The car has no engine. Power deliverance is biologically integrated into the system by having it feed on a nectar that is synthesized from plants and from solar energy. This way, we make technology dependent, or in fact an intrinsic part of, our natural environment, so we have to take care of it very well. It´s a fair idea to me that we do not only create economic, human value out of nature, but that also we create natural value out of human endeavors.




Other almost equally far-out concepts are the Toyota Nori, made out of seaweed and carbon fiber, the bionic Nissan iV, and the Smart 454 that is produced by knitting robots. Is that hinting at an answer to how an aging population can still add value? Personally, I will be quite excited to see either one of these concepts on the road in my lifetime.

Coral-inspired 3D printed lamps

I see a future for product design that is in many ways quite different from how the trade is practiced at the moment. It's a future where we learn to handle materials in an increasingly intelligent way, and work hand in hand with computers. Which we will probably not call computers any longer. I am recognizing this shift where materials more and more become part of the dynamic function of the device they constitute. In fact, I think that with new, responsive, and programmable materials, structure will become function again. So that we become linked to our technologies in a fully embodied way. Design then, gets to be more of an evolution, a growth, not unlike a carbon-based organism is grown these days. Design becomes emergent rather than plan-based.

This is how it is in what we call nature. Everything is grown as one structure, and electric communication is simply an intrinsic part of this structure, rather than a separate system within an enclosure. So in nature at least we can find inspiration for this new type of design. And we can start translating what we find slowly into our products, to make for a gradual shift to a materially intelligent future.

The design studio 'Nervous System' does exactly that. They have taken a hypothetical mechanism found in nature, and developed products, partially using that mechanism. It's called 'reaction-diffusion', and is supposed to be responsible for the complex patterning and coloring of animals like zebras and tropical fish. The lamps that the designers subsequently created through 3D printing techniques came to look somewhat like corals. Whether it looks beautiful is for everybody to decide for him- or herself, but surely the way the materials are handled here is quite extraordinary. That is beautiful to me in itself.